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SOME  NOTABLE  ALTARS 


THE  MACMILLAN  COMPANY 

NEW  YORK  • BOSTON  • CHICAGO 
ATLANTA  • SAN  FRANCISCO 

MACMILLAN  & CO.,  Limited 

LONDON  • BOMBAY  • CALCUTTA 
MELBOURNE 

THE  MACMILLAN  CO.  OF  CANADA,  Ltd. 

TORONTO 


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By  permission  of  H.  W.  Salmon,  Winchester. 

ALTAR  AND  SCREEN  IN  WINCHESTER  CATHEDRAL 


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SOME  NOTABLE  ALTARS 

IN 

THE  CHURCH  OF  ENGLAND 

AND 

THE  AMERICAN  EPISCOPAL  CHURCH 


BY 

REV.  JOHN  WRIGHT,  D.D.,  LL.D. 

RECTOR  OF  ST.  PAUL’S  CHURCH,  ST.  PAUL,  MINN. 

AUTHOR  OF  “EARLY  BIBLES  OF  AMERICA,”  “HISTORIC  BIBLES  IN  AMERICA,” 
“EARLY  PRAYER  BOOKS  OF  AMERICA,”  ETC. 


WITH  ONE  HUNDRED  AND  FOURTEEN  FULL-PAGE  PLATES 


Nefo  fforfe 

THE  MACMILLAN  COMPANY 

1908 


All  rights  reserved 


Copyright,  1908, 

By  THE  MACMILLAN  COMPANY. 


Setup  and  electrotyped.  Published  November,  1908. 


Nortooob  ^rtsss 

J.  8.  Cushing  Co.  — Berwick  & Smith  Co. 
Norwood,  Mass.,  U.8.A. 


PREFACE 


This  book  does  not  attempt  to  give  a complete  set  of  views  of 
Altars.  Only  a few  have  been  selected  which  are  regarded  as  com- 
mendable from  their  striking  appearance,  their  excellency  of  treatment, 
or  because  they  are  the  special  work  of  well-known  architects  and 
builders.  An  effort  has  been  made  to  present  as  much  variety  as  pos- 
sible, so  that  the  clergy  who  have  in  anticipation  the  building  of  new 
Altars,  or  the  enrichment  of  old  ones,  may  get  suggestions.  Not  only 
the  more  expensive  Altars  have  been  reproduced,  but  also  those  that 
have  been  erected  at  a moderate  expenditure.  The  cost  of  each 
has  been  given  where  the  information  was  obtainable,  though  in  some 
cases  there  was  uncertainty  on  this  point,  and  in  others  the  cost  was 
not  for  publication. 

By  reason  of  a cultivation  of  ecclesiastical  adornment  through 
centuries  of  experience,  wealth,  and  devotion,  the  Cathedrals  and 
parish  Churches  of  England  have  attained  a high  place  in  the  world 
of  sacred  art.  The  American  Episcopal  Church  has  given  only 
through  the  past  one  hundred  years  any  attention  to  Church  enrich- 
ment and  her  limitations  have  been  many.  Notwithstanding  this,  her 
art  creations  have  not  been  without  merit  and  her  Church  architects 
have  taken  a foremost  place.  The  descriptive  text  has  been  drawn 
from  every  available  source,  such  as  the  reports  of  architects,  builders, 
Vicars,  and  Rectors.  Several  visits  to  England  helped  by  the  way  of 
study  and  observation. 

A few  examples  have  been  given  of  unrestored  English  Screens 
as  showing  the  devastation  wrought  by  vandal  hands  at  the  Reforma- 
tion. It  is  a pleasure  to  note  in  the  restored  work  that  the  prejudice 
against  the  Crucifix  as  the  emblem  of  our  salvation  is  passing  away. 
The  late  Most  Rev.  Frederick  Temple,  D.D.,  the  Primate  of  England, 
once  said : “ I fail  to  understand  how  it  can  be  considered  compatible 
with  the  principles  of  the  Reformation  to  draw  nice  distinctions  between 
the  figure  of  Our  Lord  crucified  and  the  figure  of  Our  Lord  ascending, 
and  to  say  that  one  tends  to  idolatry  and  the  other  not.  Such  subtle- 
ties savor  of  Rabbinical  distinctions.” 


v 


THE  SIGNIFICANCE  OF  THE  ALTAR 


The  Holy  Communion  is  the  great  central  act  of  worship  in  the 
Christian  Church,  and  the  only  form  which  Our  Divine  Master  directly 
commanded  to  be  observed.  Its  value  and  importance  cannot  there- 
fore be  underrated.  Associated  with  it  is  the  Altar,  without  which 
a Church  building  has  no  meaning.  It  is  inconsistent  to  see  lofty 
spires,  mighty  buttresses,  graceful  arches,  sculptured  doors,  ornate 
cornices,  stained-glass  windows,  rich  in  artistic  effect,  and  then  to  find 
the  Altar  an  obscure  and  depressing  structure,  bare  and  unadorned, 
and  utterly  out  of  keeping  with  the  rest  of  the  Church,  as  much  as 
to  say  that  God  was  to  be  honored  everywhere  except  upon  his  own 
earthly  throne.  All  this  is  putting  lack  of  beauty  and  dignity  in  the 
wrong  place,  and  relegating  the  Blessed  Sacrament  to  ordinary  sur- 
roundings. The  late  Bishop  Nicholson  of  Milwaukee  once  said: 
“ Build  the  Altar  first  and  then  the  rest  of  the  Church  around  it.” 
Herein  is  a great  truth  that  clergy  and  people,  architects  and  builders, 
should  lay  to  heart.  Better  to  have  a richly  adorned  Altar  with  a 
plain  Church  about  it  than  the  reverse.  Make  the  Altar  lofty  and 
majestic  that  the  congregation  may  be  taught  to  look  up  to  it.  Make 
it  so  attractive  and  prominent  that  it  will  be  the  first  thing  to  catch 
the  eye  on  crossing  the  threshold  of  the  Church,  and  emphasize  and 
teach  the  glories  of  the  Incarnation.  Therefore,  summon  to  your 
aid  rich  and  valuable  marbles,  rare  and  costly  work,  the  skill  of  the 
sculptor,  the  brush  of  the  painter,  and  all  that  human  ingenuity  and 
skill  can  devise  to  make  the  Altar  glorious.  Make  it  beautiful,  not 
for  the  sake  of  beauty,  not  that  it  may  please  the  fancy,  not  to  gratify 
the  aesthetic  taste,  but  solely  and  always  to  the  honor  of  God.  To 
him  we  consecrate  our  treasures,  especially  in  that  place  which  Christ 
hallows  by  his  loving  Presence. 

“ ’Tis  for  Thee  we  bid  the  Frontal 
Its  embroidered  wealth  unfold, 

’Tis  for  Thee  we  deck  the  Reredos 
With  the  colors  and  the  gold.” 


vi 


ILLUSTRATIONS  OF  ENGLISH  ALTARS 

Winchester  Cathedral 

Ely  Cathedral  

Salisbury  Cathedral 

Exeter  Cathedral  

Gloucester  Cathedral  

Rochester  Cathedral 

York  Cathedral  . 

Worcester  Cathedral 

Truro  Cathedral  

Lichfield  Cathedral  • 

Manchester  Cathedral  

Peterborough  Cathedral  

Hereford  Cathedral  ........... 

Cathedral  of  St.  Alban 

Chester  Cathedral  

Bristol  Cathedral 

Christ  Church  Cathedral,  Oxford  ........ 

Durham  Cathedral  

Chichester  Cathedral 

Cathedral  of  St.  Nicholas,  Newcastle-on-Tyne 

St.  Paul’s  Cathedral,  London 

Cathedral  Church  of  the  Saviour,  Southwark,  London 

Westminster  Abbey 

Church  of  St.  Alban  the  Martyr,  London 

St.  Paul’s  Church,  Knightsbridge,  London 

St.  Stephen’s  Church,  Kensington,  London 

Church  of  the  Holy  Redeemer,  London 

Church  of  St.  John  the  Divine,  London 

St.  Mary’s  Church,  Soho,  London 

St.  Agnes’  Church,  London 

St.  Barnabas’  Church,  London 

St.  John’s  Church,  Hackney,  London 

St.  Giles’  Church,  London 

Old  St.  Pancras  Church,  London  

St.  Mary’s  Church,  Primrose  Hill,  London 

St.  Anne’s  Church,  Eastbourne 

St.  Mary’s  Church,  Cuddington 

vii 


Frontispiece 

PAGE 

6 

9 

12 

• 15 
. 18 

21 

. 24 

. 27 

■ 32 

• 35 

. . 38 

. 41 

• 44 

. . 48 

• 5i 

. 54 

• 57 
60 

• 63 

. 67 

• 7i 

• 75 

. . 78 

. 81 

. . 84 

. . 87 

. 90 

• 94 

• 97 

. . 100 

• 103 

. 107 

. 1 10 

. 1 14 

. 1 17 


120 


ILLUSTRATIONS 


viii 

PAGE 

St.  Cuthbert’s  Church,  Newcastle-on-Tyne  .......  123 

Chapel  of  Marlborough  College  126 

Chapel  of  Jesus  College,  Oxford 129 

Chapel  of  All  Souls’  College,  Oxford 132 

Chapel  of  Magdalen  College,  Oxford 135 

Chapel  of  New  College,  Oxford 138 

Chapel  of  Winchester  College 141 

Chapel  of  St.  John’s  College,  Hurstpierpont 144 

Chapel  of  Cheltenham  College 150 

St.  George’s  Chapel,  Windsor 154 

St.  Matthew’s  Church,  Northampton 157 

Beverley  Minster 160 

Christ  Church  Priory 171 

St.  Margaret’s  Chapel,  East  Grinstead 174 

St.  Stephen’s  Church,  Clewer 177 

St.  Margaret’s  Church,  King’s  Lynn 180 

Church  of  St.  Mary  Magdalene,  Elmstone 183 

Christ  Church,  Bristol 187 

St.  Paul’s  Church,  Clifton,  Bristol 190 

St.  Mary’s  Church,  Redcliffe,  Bristol . . -193 

St.  Chad’s  Church,  Haggerston 196 

St.  Mary’s  Church,  Marsh  Gibbon 199 

St.  Peter’s  Chapel  of  Burford  Church 202 

Minster  Lovell,  Witney 205 

St.  Mary’s  Church,  Witney 208 

Church  of  St.  John  the  Baptist,  Cirencester 21 1 

Holy  Trinity  Church,  Watermoor 214 

Church  of  St.  John  the  Baptist,  Summertown 217 

All  Saints’  Church,  Evesham 220 

St.  Mary’s  Church,  Streatley 223 

All  Saints’  Church,  Richard’s  Castle,  Ludlow 226 

Christ  Church,  Reading . 229 

ILLUSTRATIONS  OF  AMERICAN  ALTARS 

Cathedral  of  St.  John  the  Divine,  New  York  City 232 

Christ  Church  Cathedral,  Louisville,  Ky 235 

All  Saints’  Cathedral,  Milwaukee,  Wis 238 

Cathedral  of  St.  John,  Quincy,  III 241 

Trinity  Church,  New  York  City 246 

Trinity  Chapel,  New  York  City 252 

Church  of  the  Transfiguration,  New  York  City 255 

St.  Ignatius’  Church,  New  York  City 258 

Chapel  in  Church  of  the  Incarnation,  New  York  City 261 


ILLUSTRATIONS  ix 

PAGE 

Church  of  St.  Edward  the  Martyr,  New  York  City  . ...  264 

Church  of  Zion  and  St.  Timothy,  New  York  City 267 

Chapel  of  the  General  Theological  Seminary,  New  York  City  . . . 270 

St.  James’  Church,  Philadelphia 273 

St.  Stephen’s  Church,  Philadelphia 276 

St.  Elizabeth’s  Church,  Philadelphia 279 

Church  of  the  Saviour,  West  Philadelphia 282 

St.  Mary’s  Church,  West  Philadelphia 286 

St.  Timothy’s  Church,  Philadelphia 289 

St.  Luke’s  Church,  Germantown 292 

St.  Peter’s  Church,  Germantown 295 

Grace  Church,  Baltimore 298 

Church  of  the  Epiphany,  Washington,  D.C 301 

St.  Paul’s  Church,  Washington,  D.C. 304 

Emmanuel  Church,  Boston 307 

Church  of  the  Advent,  Boston 310 

All  Saints’  Church,  Dorchester 313 

Christ  Church,  New  Haven,  Conn 316 

Church  of  the  Holy  Trinity,  Middletown,  Conn 319 

Grace  Church,  Windsor,  Conn 322 

St.  John’s  Church,  Stamford,  Conn 325 

Trinity  Church,  Torrington,  Conn 328 

Chapel  of  St.  Paul’s  School,  Concord,  N.H 331 

St.  Stephen’s  Church,  Providence,  R.1 334 

St.  Paul’s  Church,  Chattanooga,  Tenn 339 

St.  Michael’s  and  All  Angels’  Church,  Anniston,  Ala. 342 

St.  Luke’s  Church,  Scranton,  Pa 345 

Trinity  Church,  Geneva,  N.Y 348 

Chapel  of  Convent  of  St.  Mary,  Peekskill,  N.Y 351 

Church  of  the  Ascension,  Chicago,  III 354 

Convent  of  the  Nativity,  Fond  du  Lac,  Wis 357 

St.  Mary’s  Church,  Kansas  City,  Mo. 360 

Grace  Church,  Utica,  N.Y 364 

St.  John’s  American  Church,  Dresden,  Germany 367 

St.  Mark’s  Church,  Philadelphia 370 

Church  of  St.  John  the  Evangelist,  St.  Paul,  Minn 379 


THE  CATHEDRAL  CHURCH  OF  THE  HOLY  AND 
INDIVISIBLE  TRINITY,  WINCHESTER 


The  great  Reredos  is  supposed  to  date  from  the  fifteenth  century 
and  like  others  in  England  suffered  from  destructive  hands  during 
Reformation  times.  The  High  Altar  is  elevated  above  the  floor  of 
the  nave  by  nineteen  steps,  which  adds  greatly  to  the  general  effec- 
tiveness of  both  Altar  and  Reredos.  The  original  work  has  been 
attributed  to  Cardinal  Beaufort,  Bishop  Fox,  and  Prior  Silkstede, 
though  no  records  or  inscriptions  are  extant  in  confirmation  of  these 
conjectures.  The  oil  painting  by  Benjamin  West,  known  as  “The 
Raising  of  Lazarus,”  hung  until  1899  directly  over  the  Altar.  A 
wooden  canopy  decorated  with  gold  covered  the  central  part  of  the 
screen  before  1818.  In  his  Cathedral  Church  of  Winchester  Philip 
W.  Sergeant  writes : “ The  Reredos  is  so  large  that  it  occupies  the 
whole  of  the  space  between  the  choir  piers,  and,  being  constructed  of 
a very  white  stone,  is  the  prominent  feature  of  the  choir.  The  work 
is  very  elaborate,  the  whole  Screen  being  arranged  in  three  tiers  with 
canopied  niches  containing  eighteen  large  statues,  while  smaller 
figures  — kings,  saints,  angels,  etc.  — occupy  the  splays  between. 
The  pinnacles  are  pierced  and  crocketed,  and  there  is  a central  pro- 
jecting canopy  over  the  place  of  the  original  crucifix.  On  either  side 
of  the  High  Altar  is  a door  leading  to  the  feretory  at  the  back  of  the 
Reredos,  and  these  have  in  their  four  spandrels  interesting  groups  of 
fifteenth-century  sculpture,  representing  various  scenes  in  the  life  of 
the  Virgin,  the  Annunciation,  and  the  Visitation  of  St.  Elizabeth,  still 
showing  traces  of  color.  The  fact  that  these  carvings  have  escaped 
destruction,  just  as  the  lower  tier  at  Christchurch  escaped,  is  only 
to  be  explained  on  the  assumption  that  they  were  hidden  behind  some 
paneling,  since  removed,  for  of  all  images  which  provoked  iconoclastic 
fury,  those  representing  the  Virgin  were  the  most  certain  to  be  attacked. 
The  whole  is  crowned  by  a triple  frieze  of  leaves,  Tudor  roses,  and 
quatrefoils,  at  a height  little  short  of  the  corbels  which  support  the 


o 


SOME  NOTABLE  ALTARS 


arches  of  the  roof.  The  eighteen  larger  statues  were,  and  are  now, 
since  the  restoration  of  the  Reredos,  arranged  in  the  following  order: 
In  the  uppermost  tier,  to  the  left  and  right  of  the  head  of  the  cross, 
were  St.  Peter  and  St.  Paul,  who  were  the  patron  saints  of  the  Church. 
Two  on  either  side  of  these  were  the  four  Latin  Doctors,  St.  Augus- 
tine, St.  Gregory,  St.  Jerome,  and  St.  Ambrose.”  The  writer  then 
states  on  the  authority  of  Dean  Kitchin  that  below  the  figures  of  the 
Latin  Fathers  we  had  two  local  Bishops,  St.  Birinus,  the  first  occupant 
of  the  see,  and  St.  Swithun,  patron  saint  of  the  Church.  Beyond  these, 
over  the  two  doors,  were  St.  Benedict  and  St.  Giles.  Mr.  Sergeant 
then  proceeds  to  say:  “ Outermost  on  this  tier  stand  the  statues  of  the 
two  deacons,  St.  Stephen  and  St.  Lawrence.  In  the  lowest  tier,  on 
either  side  of  the  altar,  stand  St.  Pledda  and  St.  Ethelwolf,  two  of  the 
most  famous  Anglo-Saxon  Bishops  of  the  see  of  Winchester.  Next 
these  saints  there  is  the  doorway  on  either  side,  and  beyond  these  doors 
are  statues  of  King  Edward  the  Confessor  and  St.  Edmund  the  King. 
Between  the  figures  of  St.  Swithun  and  St.  Birinus  stand  statues  of  the 
Virgin  and  St.  John,  while  above  the  arms  of  the  cross  are  the  four 
Archangels,  Uriel,  Gabriel,  Michael,  and  Raphael.  In  all  there  are 
now  fifty-six  statues  on  the  screen,  the  smaller  figures  including  famous 
kings,  bishops,  women,  and  a representation  of  Izaak  Walton.  Above 
the  Altar  it  is  said  there  was  once  ‘a  table  of  images  of  silver  and 
gilt  garnished  with  stones.’  These  images  are  conjectured  to  have 
represented  Christ  and  his  disciples,  possibly  at  the  Last  Supper,  but 
no  traces  remain  of  them.  From  1782  till  1899  West’s  picture,  ‘The 
Raising  of  Lazarus,’  now  in  the  South  Transept,  hung  here.  The 
place  is  now  more  happily  occupied  by  a representation  of  the  Incar- 
nation. The  most  recent  feature  of  the  Screen  is  the  great  central 
figure  of  Christ  crucified,  the  gift  of  Canon  Valpy  and  the  work  of 
Messrs.  Farmer  and  Brindley.  The  final  restoration  of  the  Screen 
by  the  filling  of  the  space  left  vacant  for  three  centuries  was  commem- 
orated by  a solemn  dedication  service  held  at  the  Cathedral  on  March 
24,  1899.”  1 

1 The  Cathedral  Church  of  Winchester.  A description  of  its  fabric  and  a brief  history 
of  the  Episcopal  see,  pp.  56-61. 


THE  CATHEDRAL  CHURCH  OF  ETHELDREDA 


o 


THE  CATHEDRAL  CHURCH  OF  ETHELDREDA,  ELY 

The  following  description  was  written  by  the  Clerk  of  the  works 
at  the  time  of  the  interior  improvements  of  the  Cathedral : “ The 
Reredos  was  erected  by  John  Dunn  Gardner,  Esq.,  of  Chatteris,  in 
the  Isle  of  Ely,  as  an  offering  of  affection  to  the  memory  of  a be- 
loved wife  who  died  in  the  flower  of  her  age ; it  comprises  a centre, 
the  front  being  built  with  alabaster  or  Derbyshire  spar,  backed 
with  clunch  raised  at  Burwell,  about  eleven  miles  from  Ely.  It  has 
wings  or  side  screens  all  of  clunch ; from  the  base-moulding  the 
walls  are  covered  with  a diaper  flower  carved  in  alto-relievo,  ex- 
hibiting a series  of  lilies,  apparently  connected  together  by  their 
stems,  running  through  the  frames  in  which  each  flower  rests  ; above, 
on  each  side,  is  an  arcading  consisting  of  three  open  arches  having 
geometrical  foliated  tracery,  topped  with  a cornice  of  many  mouldings, 
with  a slope  above  surmounted  by  a cresting  of  flame-like  form. 

“ The  front  of  the  central  portion  on  each  side  of  the  Altar  above 
the  base-moulding  is  covered  with  diaper  carved  in  alto-relievo,  ex- 
hibiting a series  of  roses,  apparently  connected  by  the  stems,  running 
through  the  pattern  ; above  these  and  the  Altar  it  is  divided  into  five 
compartments,  four  of  which  are  occupied  by  two  trefoils  each,  and 
the  centre  by  three  trefoils,  sunk  by  a hollow  moulding  which  is  gilt, 
and  ornamented  with  Ball-flowers  and  filled  in  with  mosaic  work  of 
verde  antico,  rosso  antico,  and  lapis  lazuli ; over  these  are  five  panels 
cut  in  alabaster,  containing  alto-relievo  sculpture  of  considerable 
merit;  commencing  on  the  north  side,  the  first  is  Christ’s  Entry  into 
Jerusalem;  second,  Christ  washing  his  Disciples’  Feet;  third,  The 
Last  Supper ; fourth,  Christ’s  agony  in  the  Garden,  and  lastly,  Christ 
bearing  his  Cross.  In  the  front,  and  at  the  division  of  each  panel, 
stand  three  spiral  columns,  the  sunk  Screen  having  a gold  ground,  on 
which  are  set  cornelian  and  agate  stones  alternately.  The  spiral  col- 
umns have  rich  foliated  capitals ; at  the  division  are  larger  supporting 
figures  of  angels  bearing  the  Nails,  the  Hammer,  the  Crown  of 
Thorns,  the  Spear,  the  Cross,  instruments  of  Our  Lord’s  Passion ; on 


4 


SOME  NOTABLE  ALTARS 


each  side  of  the  principal  shafts,  and  in  the  centre  of  each  panel,  is  a 
smaller  but  similar  column,  supporting  two  gabled  canopies,  over  each 
sculptured  panel,  springing  from  a dragon  or  grotesque  figure,  and 
finished  with  a finial ; the  inner  portion  of  each  gable  contains  within 
a circle  a head  in  basso-relievo ; those  on  the  north  side,  of  the 
prophets  Isaiah,  Jeremiah,  Ezekiel,  and  Daniel ; those  on  the  south, 
the  four  doctors  of  the  Church,  St.  Jerome,  St.  Ambrose,  St.  Augus- 
tine, and  St.  Gregory.  The  other  portions,  as  well  as  the  panels  of 
the  shafts  of  the  finials,  are  filled  in  with  rich  and  costly  mosaics. 
The  centre  compartment  has  three  projecting  gabled  canopies,  the 
sunk  gables  and  panels  of  which  are  filled  with  mosaics.  Above  the 
centre  on  a lofty,  enriched  pinnacle  is  a figure  of  our  Lord.  On  the 
north  side,  on  a lower  pinnacle,  is  a figure  of  Moses,  and  on  the  other 
side  a figure  of  Elias.  The  upper  portion  of  the  Screen  is  set  back 
carved  in  clunch  — except  the  figure,  which  is  in  alabaster  — and 
divided  into  five  compartments  of  openwork,  surmounted  by  a rich 
cresting.  In  front  rise  five  gables,  the  centre  being  larger  and  higher 
than  the  others,  with  a figure  of  our  Lord  enthroned  on  the  apex. 
It  is  filled  in  with  a trefoil,  containing  a basso-relievo  of  the  Annunci- 
ation in  alabaster  and  made  up  with  mosaics.  The  foliated  crocheting 
of  the  gable  contains  the  pelican  feeding  her  young.  The  four  side 
gables  each  support  a figure  of  one  of  the  four  Evangelists,  their  re- 
spective emblems  being  worked  on  the  crockets.  In  the  inner  faces  of 
the  gable,  within  the  trefoils,  are  busts  in  basso-relievo,  those  on  the 
north  side  representing  St.  Mary  Magdalene  and  St.  Mary  the  Mother 
of  Jesus,  those  on  the  south  side,  St.  John  the  Baptist  and  St.  John 
the  Divine.  The  spaces  in  the  gables  are  filled  in  with  mosaics. 
Outside  and  between  these  gables  rise  spiral  columns  supporting 
alabaster  figures  of  the  virtues,  Faith,  Hope,  and  Charity;  on  the 
north  side  those  of  the  graces,  Justice,  Prudence,  and  Fortitude. 

“ Sir  George  Gilbert  Scott  was  the  architect,  but  the  Dean  and 
Mr.  Gardner  took  great  interest  in  the  work,  and  suggested  some  of 
the  important  features  in  it,  such  as  the  mosaics,  sculpture,  decora- 
tions, etc.  The  whole  of  the  stonework,  including  the  architectural 
carving  but  not  the  sculpture,  was  executed  by  Mr.  Rattee,  the  sculp- 


. 


ALTAR  AND  REREDOS  IN  ELY  CATHEDRAL 


THE  CATHEDRAL  CHURCH  OF  ETHELDREDA  7 


ture  by  Mr.  J.  Phillips,  the  mosaics  by  Mr.  Field,  and  the  decoration 
by  Mr.  Hudson,  of  Kensington  Museum.  The  latter  was  a work  of 
much  labor,  requiring  great  knowledge  and  experience.  The  gentle 
touch  of  gold  and  the  mingling  colors  produce  a most  pleasing  effect. 
The  friezes  of  the  robes  are  most  exquisite,  and  the  diapers  are  very 
skillful  performances.  On  a work  so  profuse  it  was  most  difficult  to 
know  where  to  leave  off.  Even  now  one  sees  so  much  of  the  charm- 
ing and  beautiful  for  his  mind  to  feed  upon,  that  the  separation  creates 
a lingering  feeling  not  to  leave  such  a treasure.  The  Reredos  itself, 
as  already  stated,  was  the  magnificent  gift  of  John  Dunn  Gardner. 
Dean  Peacock  gave  ^200  for  the  side  screens,  and  the  remainder 
was  defrayed  by  the  Dean  and  Chapter.  It  was  commenced  in  1850, 
but  was  not  completed  until  1868.”  One  in  authority  reports  the 
entire  cost  as  something  over  ^4000. 


8 


SOME  NOTABLE  ALTARS 


THE  CATHEDRAL  CHURCH  OF  ST.  MARY, 

SALISBURY 

The  Altar  is  built  of  English  oak.  The  design  is  that  of  an  arcade 
with  seven  openings,  divided  into  three  panels  with  elaborate  carvings. 
The  Altar  was  given  by  those  persons  who  had  received  confirmation 
through  Bishop  Hamilton.  The  Reredos  is  designed  from  the  old 
choir  Screen  in  the  Lady  Chapel  of  the  Cathedral.  The  central  panel, 
eight  feet  high,  has  in  relief  the  Crucifixion,  with  the  Virgin  Mary  and 
St.  John.  At  the  top  of  the  central  arch  are  angels  and  foliage.  The 
canopied  niches  on  the  sides  of  the  Crucifixion  contain  figures  of  the 
two  Marys,  and  of  St.  Osmund  and  Bishop  Beauchamp.  The  whole 
structure  terminates  in  a gemmed  and  floriated  cross.  The  Reredos 
was  designed  by  Sir  George  Gilbert  Scott  and  executed  by  Farmer 
and  Brindley.  It  was  the  gift  of  Earl  Beauchamp  in  memory  of  Bishop 
Beauchamp.  The  cost  was  over  ^1800. 


By  permission  of  Witcomb&Son,  Salisbury. 

ALTAR  AND  REREDOS  IN  SALISBURY  CATHEDRAL 


a. 


t.y/  v~r)  i 


By  permission  of  Valentine  & Sons,  Dundee. 


ALTAR  AND  RE RED OS  IN  EXETER  CATHEDRAL 


THE  CATHEDRAL  CHURCH  OF  ST.  PETER  13 


THE  CATHEDRAL  CHURCH  OF  ST.  PETER,  EXETER 

The  Reredos  was  erected  in  1876,  and  is  constructed  of  marble  and 
alabaster.  It  rises  thirty  feet  from  the  floor,  and  was  designed  by  Sir 
George  Gilbert  Scott.  It  was  the  gift  of  Chancellor  Harrington  and 
Dr.  Blackall.  The  canopies  are  of  verde  antico  marbles,  and  the 
whole  structure  is  surmounted  by  a floriated  cross.  There  are  three 
sculptured  compartments.  The  central  one  represents  the  Ascension, 
the  one  on  the  right  the  descent  of  the  Holy  Ghost  at  Pentecost,  and 
the  one  on  the  left  the  Transfiguration.  The  whole  is  profusely  inlaid 
and  gemmed.  Among  the  jewels  are  the  amethyst,  cornelian,  jasper, 
onyx,  malachite,  garnet,  bloodstone,  and  lapis  lazuli.  The  Retable  is 
of  polished  alabaster  and  marble  mosaics.  The  Altar-cloth  is  of  crim- 
son velvet  and  is  rich  in  needlework  of  silk  and  gold  and  is  resplen- 
dent with  jewels,  pearls,  and  crystal  drops.  This  also  was  designed 
by  Sir  George  Gilbert  Scott.  The  Altar  and  Reredos  cost  something 
over  £ 2000. 


14 


SOME  NOTABLE  ALTARS 


THE  CATHEDRAL  CHURCH  OF  ST.  PETER, 
GLOUCESTER 

The  Reredos  was  unveiled  in  1873  with  special  services.  It  was 
the  gift  of  the  Treasurer  of  the  Province.  It  was  designed  by  Sir 
George  Gilbert  Scott.  The  groups  of  figures  were  sculptured  by  Red- 
fern.  The  central  compartment  represents  the  Ascension  of  our  Lord. 
On  either  side  may  be  seen  the  Nativity  and  Burial  of  Christ.  In 
the  four  separate  niches  are  Moses,  David,  St.  Peter,  and  St.  Paul. 
In  the  upper  turrets  or  niches  are  nine  angels  bearing  emblems  of  the 
Passion.  The  Reredos  has  recently  been  extensively  gilded.  Its  cost 
was  £ 1500. 


By  permission  of  Valentine  & Sons,  Dundee. 

ALTAR  AND  REREDOS  IN  GLOUCESTER  CATHEDRAL 


By  permission  of  Valentine  and  Sons,  Dundee. 


ALTAR  AND  REREDOS  IN  ROCHESTER  CATHEDRAL 


THE  CATHEDRAL  CHURCH  OF  ST.  ANDREW  19 


THE  CATHEDRAL  CHURCH  OF  ST.  ANDREW, 

ROCHESTER 

The  old  Altar,  dating  from  1707,  was  a plain  structure  constructed 
of  Norway  oak.  Above  this  was  hung  in  1788  a picture  of  “The 
Angels  appearing  to  the  Shepherds,”  by  Sir  Benjamin  West.  In  1826 
this  picture  came  into  the  possession  of  St.  Mary’s  Church,  Chatham. 
In  1873  the  Restoration  Committee  added  the  present  Altar  and  Rere- 
dos,  from  designs  by  Sir  George  Gilbert  Scott.  The  Altar  is  a solid 
oak  structure,  and  the  Reredos  is  built  of  Caen  stone.  A representa- 
tion of  the  Last  Supper  is  sculptured  upon  it.  Some  of  the  later  im- 
provements in  the  general  effect  of  the  Altar  and  Reredos  have  been 
made  by  the  present  architect  of  the  Cathedral,  Mr.  Hodgson  Fowler. 


20 


SOME  NOTABLE  ALTARS 


THE  CATHEDRAL  OF  ST.  PETER,  YORK 

The  Triptych  was  erected  in  1878,  and  is  constructed  of  oak  and 
terra-cotta,  painted  and  gilded.  The  central  compartment  contains  a 
representation  of  the  Crucifixion  in  relief.  Mr.  G.  E.  Street  was  the 
architect  and  Mr.  Tin  worth  the  builder.  The  Triptych  is  a memorial 
to  Mrs.  Markham. 


By  permission  of  Valentine  & Sons,  Dundee. 


ALTAR  AND  TRIPTYCH  IN  YORK  CATHEDRAL 


By  permission  of  T.  Bennett  & Sons,  Worcester. 

ALTAR  AND  REREDOS  IN  WORCESTER  CATHEDRAL 


THE  CATHEDRAL  CHURCH  OF  CHRIST 


25 


THE  CATHEDRAL  CHURCH  OF  CHRIST  AND  THE 
BLESSED  MARY  THE  VIRGIN,  WORCESTER 

The  Reredos  is  constructed  of  alabaster  enriched  with  malachite, 
agate,  lapis  lazuli,  and  other  colored  stones  and  marbles.  It  was  de- 
signed by  Sir  George  Gilbert  Scott  and  erected  by  Farmer  and 
Brindley.  In  the  central  niche  is  the  seated  figure  of  Christ  in 
the  act  of  benediction.  In  the  canopied  niches  on  each  side  are 
the  figures  of  the  Four  Evangelists.  A great  cross  surmounts  the 
whole.  The  Reredos  was  given  to  the  Cathedral  by  Dean  Peel,  a 
brother  of  the  eminent  statesman  of  that  name.  On  an  inlaid 
cross  is  the  following  inscription:  “ In  memory  of  John  Peel,  D.D., 
Dean  of  this  Cathedral  from  a.d.  1846  to  1874,  who  erected  this 
Reredos  in  affectionate  remembrance  of  Augusta  his  wife ; this 
cross  is  inscribed  by  the  Dean  and  Canons  and  other  friends  a.d. 
1877.”  The  cost  of  the  Reredos  was  ^1500. 


26 


SOME  NOTABLE  ALTARS 


THE  CATHEDRAL  CHURCH  OF  ST.  MARY,  TRURO 

“ Standing  below  the  Sanctuary  steps,  which  are  of  lovely  Italian 
marble,  delicately  veined,  we  look  up  at  the  magnificent  Reredos  of 
richly  carved  Bath  stone.  The  general  idea  of  the  sculpture  is  ‘ the 
one  great  sacrifice  of  our  Blessed  Lord,’  made  with  bloodshedding 
on  the  cross,  represented  in  the  ‘ Crucifixion,’  immediately  above  the 
Altar,  and  as  pleaded  continually  in  heaven,  represented  in  the  ‘ Maj- 
esty ’ which  fills  the  upper  part  of  the  central  portion  of  the  Reredos ; 
while  on  either  side  are  typical  subjects  of  the  older  Covenant,  repre- 
senting the  great  foreshadowing  of  Sacrifice  for  sin,  of  the  gift  of  Life, 
of  Communion  with  God,  and  of  self-oblation. 

“ Examining  the  Reredos  in  detail,  it  will  be  observed  that  the  whole 
is  designed  in  three  great  sections,  a central  and  two  side  ones ; each 
subdivided  into  separate  portions  by  tiers  of  recessed  and  richly  can- 
opied niches,  the  composition  forming,  with  its  splendid  groups  of 
sculptured  figures,  not  only  a work  of  beautiful  symbolic  art,  but  a 
most  effective  instrument  of  devotional  and  sacramental  teaching. 

“ In  the  central  section  our  attention  is  first  of  all  directed  to  the 
offering  of  the  great  High  Priest  of  the  ‘one  oblation  of  himself  once 
offered  on  the  Cross.’  The  sculptor  has  succeeded  in  combining  that 
which  it  is  so  difficult  to  do,  the  true  pathos  of  human  suffering  with 
the  dignity  of  the  Divine  Personality  of  the  holy  victim. 

“ All  the  details  of  the  great  and  awful  event  are  treated  historically 
and  yet  devotionally.  On  either  side  of  the  crucified  Son  of  God  are 
the  Blessed  Virgin  Mary  and  St.  John;  at  the  foot  of  the  cross  Mary 
Magdalene  embraces  the  sacred  feet ; the  other  Mary  offers  consola- 
tion to  the  sorrowful  mother.  The  purpose  of  the  Saviour’s  passion 
includes  Jew  and  Gentile,  and  so  are  seen  in  the  group  Hebrew  Rabbis, 
the  Roman  Centurion  with  his  soldiers,  and  a man  of  the  people  hold- 
ing a lantern ; that  the  event  is  one  that  concerns  not  earth  only  but 
the  unseen  world  is  shown  by  the  presence  of  ministering  angels, 
whose  ninefold  choirs  are  also  indicated  in  the  nine  small  niches  im- 
mediately above  the  Altar,  and  in  the  adoring  representatives  of  the 


ALTAR  AND  REREDOS  IN  TRURO  CATHEDRAL 


THE  CATHEDRAL  CHURCH  OF  ST.  MARY 


29 


heavenly  hosts  in  the  eight  pairs  of  niches  on  each  side  of  the  central 
section.  Below  these  angelic  figures  on  either  side,  close  to  the  Altar, 
are  the  figures  of  the  four  Evangelists,  in  the  pages  of  whose  writings 
are  recorded  with  such  emphatic  fullness  all  the  details  of  the  Saviour’s 
Cross  and  Passion  and  Resurrection. 

“ Then  above,  in  the  upper  division  of  the  Central  Section,  we  see 
the  figure  of  the  same  Jesus,  1 Who,  for  the  joy  that  was  set  before 
Him,  endured  the  cross,  despised  the  shame,  and  is  now  set  on  the 
right  hand  of  the  Majesty  on  high.’  There  is  the  great  High  ‘ Priest 
upon  His  Throne,’  crowned  and  robed,  holding  the  Book  of  Life,  ‘ ever 
living  to  make  intercession,’  ‘ appearing  before  God  for  us,’  surrounded 
by  angels  and  amidst  the  glory  of  the  ‘ Redeemed  from  among  men,’ 
lifting  his  Hands  in  blessing  upon  his  Church  as  at  the  Ascension. 

“ Then  on  either  side  are  the  great  historical  preludes  of  this  mighty 
mystery. 

“ 1.  Righteous  Abel  and  his  sacrifice  of  faith  looking  forward  to  the 
sprinkling  of  that  Blood  ‘ which  speaketh  better  things  ’ than  that  of 
the  first  witness  slain  for  God’s  truth. 

“ 2.  Noah,  who  walked  with  God  and  offered  his  oblation  of  thanks- 
giving for  redemption  from  the  punishment  that  overtook  the  un- 
godly. 

“3.  The  Tree  of  Life  — the  Sacrament  of  Life  in  Paradise  — em- 
blem of  the  living  Sacrament  of  life  in  the  Church  on  earth,  and  of  the 
bliss  of  eternal  communion  in  heaven. 

“4.  The  Sacrifice  of  Isaac — faint  type  of  the  gift  of  an  eternal 
Father,  ‘ Who  spared  not  his  own  Son.’ 

“ 5.  The  Brazen  Serpent  — type  of  the  uplifting  of  the  Son  of  Man 
on  the  Cross  to  redeem  mankind  from  the  curse  of  sin. 

“6.  Feasting  on  the  Paschal  Lamb  — the  figure  of  him  that  was 
to  be  ‘ the  very  Paschal  Lamb,  that  taketh  away  the  sin  of  the  world,’ 
and  Whose  Flesh  is  ‘ meat  indeed  ’ for  his  people. 

“ 7.  The  Shew  Bread  — the  emblem  and  the  memorial  of  the  self- 
oblation and  the  consecration  of  the  twelve  tribes,  and  of  mystic  com- 
munion with  God  in  his  Sanctuary,  to  be  realized  in  a far  deeper 
sense  and  meaning  in  the  Eucharistic  feast,  where  Christians  feed  on 


30 


SOME  NOTABLE  ALTARS 


the  Bread  of  Life,  and  ‘ offer  themselves,  their  souls  and  bodies,  as  a 
living  sacrifice  ’ to  God,  their  reconciled  Father. 

“ 8.  The  gathering  of  the  first  fruits  — fulfilled  in  the  Resurrection 
of  the  Son  of  God,  ‘ the  first  fruits  of  them  that  slept 1 in  the  Sanctifi- 
cation of  the  Church  as  ‘a  kind  of  first  fruits  of  His  creatures,’  and  in 
the  consecration  to  God  in  this  present  world  now,  and  hereafter  at 
the  great  harvest,  of  all  the  best  gifts  of  spirit,  soul,  and  body  that  man 
possesses,  redeemed  and  made  ‘ fit  for  the  Master’s  use.’ 

“ In  the  outer  tiers  of  niches  are  seen  the  figures  of  the  prophets 
who  spoke  beforehand  of  all  this:  Isaiah,  the  Evangelical  prophet; 
and  Daniel,  the  prophet  of  Messiah’s  Kingdom;  Amos,  the  shepherd 
prophet  of  the  Church’s  glory;  Zechariah,  the  prophet  of  the  priest- 
hood; Jeremiah,  the  prophet  of  mercy  and  judgment;  Joel,  the  prophet 
of  penitence ; Malachi,  who  foretold  the  oblation  of  the  pure  offering 
of  the  Eucharist.  And  then  the  Apostles  and  Martyred  Saints  of  the 
Christian  Church.  The  twelve  great  ‘ Foundations  ’ of  the  Church 
grouped  in  the  lower  subdivisions  of  the  two  side  sections,  and  in  the 
tiers  of  niches  representatives  of  later  Martyrs  of  varied  rank  and  sta- 
tion and  time ; 

“ St.  Edmund,  the  English  Christian  King,  shot  to  death  by  heathen 
Danes.  St.  Cecilia,  the  sweet  singer  and  Virgin  Martyr.  St.  George, 
the  Saintly  Soldier  Martyr  of  Cappadocia,  Patron  of  England.  St. 
Vincent,  the  martyred  Deacon  of  Spain,  who,  with  St.  Lawrence,  bore 
witness  with  his  b’ood  in  the  great  persecution  under  Diocletian.  St. 
Catherine,  the  cultured  Virgin  Martyr,  patroness  of  philosophy  and 
learning.  St.  Polycarp,  the  holy  Bishop  and  Martyr  of  Smyrna.  St. 
Lawrence,  the  Holy  Archdeacon  of  Rome  and  Martyr.  St.  Alban, 
Proto-Martyr  of  Britain.” 

“This  magnificent  Reredos  is  the  gift  of  the  Deanery  of  Powder, 
and  is  the  work  of  Mr.  N.  Hitch,  of  Kensington.  This  work  of  art  was 
erected  in  1887,  and  the  architect  was  Mr.  J.  L.  Pearson,  R.A.” 

The  above  description  was  furnished  in  printed  form  through  the 
courtesy  of  Canon  Gardiner,  of  Truro. 


ALTAR  AND  REREDOS  IN  LICHFIELD  CATHEDRAL 


CATHEDRAL  CHURCH  OF  ST.  CHAD  AND  ST.  MARY  33 


THE  CATHEDRAL  CHURCH  OF  ST.  CHAD  AND  ST. 

MARY,  LICHFIELD 

The  Reredos  was  erected  in  1855,  and  is  constructed  of  alabaster 
with  inlaid  marbles.  An  effort  was  made  to  have  all  the  material 
come  from  the  Diocese.  This  was  done,  with  the  exception  of  the 
malachite.  The  alabaster  came  from  Tutbury  and  the  rich  red  mar- 
ble from  the  quarry  of  the  Duke  of  Devonshire.  The  Reredos  is 
divided  into  five  compartments,  with  richly  decorated  pediments,  the 
central  one  being  larger  and  more  elaborate  than  the  others.  Above 
it  rises  a highly  carved  pinnacle  surmounted  with  a cross.  In  this 
central  compartment  is  a representation  of  the  Ascension.  The 
panels  on  each  side  contain  the  emblems  of  the  four  Evangelists. 
The  Reredos  was  designed  by  Sir  George  Gilbert  Scott,  and  cost 
^2000.  This  sum  was  raised  by  Mrs.  H.  Howard,  the  wife  of  the 
Dean. 

At  a later  day  an  improvement  was  made  by  the  addition  of  the 
arcading  on  either  side  of  the  Reredos.  This  was  filled  with  twelve 
statues  of  alabaster  about  three  feet  and  six  inches  high.  On  the 
north  side,  beginning  at  the  Reredos,  are  St.  Andrew,  St.  Ignatius,  St. 
Nicomede,  St.  Stephen,  St.  Alphege,  and  St.  Perpetua.  On  the  south 
are  St.  Paul,  St.  Polycarp,  St.  Lucian,  St.  Lawrence,  St.  Alban,  and 
St.  Blandinia.  This  addition  was  designed  by  Mr.  C.  E.  Kempe  and 
executed  by  Farmer  and  Brindley.  The  cost  was  £ 600. 


34 


SOME  NOTABLE  ALTARS 


THE  CATHEDRAL  CHURCH  OF  ST.  MARY,  ST. 
GEORGE,  AND  ST.  DENYS,  MANCHESTER 

The  Reredos  was  given  in  1894  by  the  family  of  the  late  John 
Allen.  It  is  of  carved  wooden  work  and  extensively  painted  and 
gilded. . It  is  constructed  with  seven  vertical  sections  and  two  lateral 
divisions,  the  latter  being  in  two  tiers.  The  three  niches  in  the 
centre  contain  figures  of  St.  Mary,  St.  George,  and  St.  Denys.  The 
latter  two  were  added  as  patron  saints  under  Henry  V,  who  was  King 
of  England  and  of  France.  Above  all  in  a canopied  niche  is  a seated 
figure  of  Christ  holding  in  one  hand  an  orb  and  a cross,  while  the 
other  is  raised  in  benediction.  The  smaller  panels  are  made  to  illus- 
trate the  words  of  the  Sanctus,  “■  With  angels  and  archangels,”  etc. 
The  Reredos  was  erected  from  designs  by  Mr.  Basil  Champneys. 


By  permission  of  William  H.  Bowman,  Manchester. 


ALTAR  AND  REREDOS  IN  MANCHESTER  CATHEDRAL 


.•  • 


By  permission  of  Valentine  & Sons,  Dundee. 

ALTAR  AND  BALDACHINO  IN  PETERBOROUGH  CATHEDRAL 


THE  CATHEDRAL  CHURCH  OF  ST.  PETER  39 


THE  CATHEDRAL  CHURCH  OF  ST.  PETER,  PETER- 
BOROUGH 

The  Altar  and  Baldachino  are  erected  upon  a dais  thirteen  feet 
square,  and  the  distance  to  the  top  of  the  central  spire  is  thirty-five 
feet.  Four  marble  columns  stand  at  the  corners,  supporting  niches  in 
which  are  placed  figures  of  the  Evangelists.  The  arches  and  span- 
drels are  generously  enriched  with  mosaics.  The  central  panel  has  in 
front  a figure  of  our  Lord  and  in  the  back  one  of  St.  Peter.  The  ma- 
terial used  is  Derbyshire  alabaster.  The  Altar  and  Baldachino  were 
erected  by  the  eight  children  of  Dean  Saunders  as  a memorial  of 
their  father  and  mother.  The  Retable  was  the  gift  of  certain  gradu- 
ates of  the  King’s  School.  The  builder  was  Mr.  Robert  Davison,  of 
London. 


40 


SOME  NOTABLE  ALTARS 


THE  CATHEDRAL  CHURCH  OF  ST.  MARY  AND  ST. 

ETHELBERT,  HEREFORD 

The  Reredos  was  erected  in  1850,  of  Bath  stone  and  marble.  It 
was  designed  by  Mr.  Cottingham,  Jr.  There  are  five  deep  panels 
arranged  under  canopies.  The  panels  are  divided  by  small  shafts, 
supporting  angels  who  carry  the  symbols  of  the  Passion.  The  subjects 
executed  by  the  sculptor,  Mr.  Boulton,  are  as  follows:  The  Agony  in 
the  Garden,  Christ  Bearing  the  Cross,  The  Crucifixion,  The  Resurrec- 
tion, and  The  Three  Women  at  the  Sepulchre.  The  Reredos  is  a 
memorial  to  Mr.  Joseph  Bailey,  who  served  several  years  in  Parliament. 
The  upper  part  of  the  arch  over  the  Reredos  is  occupied  by  a spandrel 
which  is  covered  with  sculpture  representing  our  Lord  in  Majesty, 
surrounded  by  the  four  Evangelists  holding  scrolls.  Below  this  is  a 
statue  of  King  Ethelbert. 


By  permission  of  Valentine  & Sons,  Dundee. 

ALTAR  AND  REREDOS  IN  HEREFORD  CATHEDRAL 


uyy 


li  ifii  h 

miiiiiiiiiiii 


By  permission  of  Valentine  & Sons,  Dundee. 

ALTAR  AND  SCREEN  IN  THE  CATHEDRAL  OF  ST.  ALBAN 


THE  CATHEDRAL  CHURCH  OF  ST.  ALBAN  45 


THE  CATHEDRAL  CHURCH  OF  ST.  ALBAN 

The  great  Screen  dates  from  the  fifteenth  century.  It  was  built 
by  Abbot  William  Walyngforde,  and  was  one  of  the  chief  glories  of  the 
Abbey  before  violent  hands  were  laid  upon  it.  So  complete  was  the 
destruction  that  it  is  impossible  to  say  what  were  its  original  ornamen- 
tations. Of  the  statues,  only  the  fragments  of  two  remain,  the  one  of 
the  feet  and  drapery  of  a figure  supposed  to  be  a Bishop,  and  the  other 
the  lower  portion  of  the  form  of  St.  Stephen  clad  in  a dalmatic. 
But  happily  through  the  offerings  of  the  generous,  and  the  consecra- 
tion of  artistic  minds,  the  Screen  has  been  restored  in  part  at  least  to 
its  original  beauty.  Lord  Aldenham  devoted  himself  to  the  work  and 
restored  the  canopies  and  filled  them  again  with  statues.  The  making 
of  the  statues  was  intrusted  to  Mr.  Harry  Hems,  of  Exeter,  the  larger 
one  being  constructed  of  limestone  from  Mansfield  Woodhouse, 
Nottinghamshire,  and  the  smaller  ones  of  alabaster.  The  Screen 
proper  is  built  of  a hard  stone  quarried  at  Tottenhoe,  near  Dunstable, 
and  is  in  dimensions  forty-two  feet  high  by  thirty-nine  feet  wide,  reach- 
ing from  the  north  to  the  south  side  of  the  Sanctuary.  It  is  divided 
perpendicularly  into  three  sections.  The  central  one  is  a representa- 
tion of  the  Crucifixion,  with  three  niches  on  each  side  and  the  two 
wings.  It  was  also  divided  laterally.  Both  on  the  eastern  and  western 
faces  of  the  Screen  are  numerous  large  and  small  niches.  The  whole 
is  intended  to  represent  the  Passion  of  our  Blessed  Lord.  On  the 
side  of  his  cross  stand  St.  Mary  and  St.  John.  On  either  side  of  these 
are  angels,  and  four  angelic  attendants  are  also  arranged  on  the  sides 
of  the  head  of  Christ.  Below  the  central  group  are  thirteen  colored 
niches  and  canopies  containing  our  Lord  seated  in  majesty  with  six 
apostles  on  either  side.  Below  this  is  a representation  of  the  Body  of 
our  Blessed  Lord  after  it  had  been  taken  down  from  the  cross.  It  is 
attended  by  the  Blessed  Virgin  and  the  other  two  Marys.  Soldiers 
and  other  figures  appear  in  the  background.  This  special  work  was 
executed  by  Mr.  Alfred  Gilbert. 

On  the  Epistle  side  of  the  Altar,  arranged  in  the  larger  and  smaller 
niches,  are  St.  Amphibalus,  the  English  martyr;  St.  Patrick,  the 
Apostle  of  Ireland;  St.  Hugh,  Bishop  of  Lincoln;  St.  Alphege,  Arch- 


46 


SOME  NOTABLE  ALTARS 


bishop  and  martyr ; St.  Osyth,  the  founder  of  a monastery ; St.  Wulfstan, 
Bishop  of  Worcester;  St.  Lucy,  Virgin  and  Martyr;  St.  Lawrence,  Dea- 
con and  Martyr  ; Edward,  King  of  the  West  Saxons;  St.  Etheldreda,  the 
Abbess  of  Whitby;  Adrian  IV,  Bishop  of  Rome;  St.  zElfric,  Abbot  of 
St.  Albans  and  Archbishop  of  Canterbury ; St.  Margaret,  of  Scotland ; 
St.  Richard,  Bishop  of  Chichester;  St.  Ethelburga,  Abbess  of  the  Monas- 
tery of  Barking ; St.  Benedict,  Bishop,  Abbot  of  the  Monastery  of  St. 
Peter  and  St.  Paul  at  Canterbury  and  founder  of  the  Monasteries  at 
Wearmouth  and  Jarrow;  St.  George,  the  patron  saint  of  England; 
St.  Erkenwald,  Bishop  of  London ; St.  Germain,  Bishop  of  Auxerre ; 
and  the  Venerable  Bede,  the  father  of  English  learning. 

On  the  Gospel  side  are  arranged  St.  Alban,  the  protomartyr  of 
Britain  ; St.  Benedict,  the  founder  of  the  Benedictine  monastic  order ; 
St.  Edward  the  Confessor;  St.  Chad,  Bishop  of  York;  St.  Frideswide, 
the  Abbess  of  a monastery  ; St.  Nicholas,  Bishop  of  Myra  in  Lycia  ; St. 
Agnes,  Virgin  and  Martyr;  St.  Leonard,  Deacon;  St.  Ethelbert,  King 
and  Martyr ; St.  Helena,  the  mother  of  Constantine ; Offa,  King  of 
Mercia ; St.  David,  Archbishop  of  Menevia ; St.  Katherine,  of  Alex- 
andria; St.  Boniface,  Bishop  of  Mainz;  St.  Cecilia,  Virgin  and  Martyr; 
St.  Giles,  Abbot ; St.  Oswin,  King  of  Deira  ; St.  Augustine,  Archbishop 
of  Canterbury  ; St.  Cuthbert,  Bishop  of  Lindisfarne  ; and  St.  Edmund, 
King  and  Martyr.  Lord  Aldenham,  in  speaking  of  the  way  he  was 
guided  in  the  selection  of  statues,  says:  “ My  purpose  in  the  choice  of 
the  personages  whom  they  were  to  represent,  has  been  to  select  English 
saints,  or  saints  especially  connected  with  England,  and  particularly 
those  who  had  any  relation  with  St.  Albans;  and  when  no  such  quali- 
fication existed,  I have  selected  for  the  remaining  niches  saints  who  had 
Altars  in  the  Abbey,  or  who  were  commemorated  in  our  own  kalendar. 
Among  the  greater  statues  I have  included  two  other  personages  who 
were  not  canonized,  but  whom  the  citizens  of  St.  Albans  should  par- 
ticularly hold  in  honor.  These  are  Offa  the  Second,  King  of  Mercia, 
and  Nicholas  Brcakspear,  otherwise  called  Adrian  the  Fourth,  the  only 
English  Pope.” 

This  description  has  been  condensed  from  the  admirable  “ Account 
of  the  High  Altar  Screen  in  the  Cathedral  Church  of  St.  Albans”  by 
Lord  Aldenham. 


By  permission  of  Valentine  & Sons,  Dundee. 

ALTAR  AND  REREDOS  IN  CHESTER  CATHEDRAL 


CHURCH  OF  CHRIST  AND  THE  BLESSED  VIRGIN  49 


THE  CATHEDRAL  CHURCH  OF  CHRIST  AND  THE 
BLESSED  VIRGIN  MARY,  CHESTER 

The  Altar  and  Reredos  were  erected  in  1876,  the  architect  being 
Sir  George  Gilbert  Scott.  Farmer  and  Brindley  executed  the  work. 
The  Altar  is  made  of  wood  given  by  Mrs.  Lee,  who  brought  it  from 
the  Holy  Land,  cedar,  olive,  and  fig  wood.  The  Reredos  has  a repre- 
sentation of  the  Last  Supper  done  in  mosaics  by  Salviati,  of  Venice. 
Its  cost  was  £ 1 200,  and  the  Altar  an  additional  expenditure  of  about 
^100. 


5° 


SOME  NOTABLE  ALTARS 


THE  CATHEDRAL  CHURCH  OF  THE  HOLY 
TRINITY,  BRISTOL 

T he  Reredos  in  Bristol  Cathedral  is  not  only  an  artistic  and  stately 
structure,  but  it  is  rich  in  its  historic  suggestions.  It  not  only  contains 
figures  of  Prophets  and  Apostles,  but  many  names  identified  with  early 
British  Christianity.  They  are  arranged  in  the  following  order:  — 

1.  St.  Augustine,  of  Hippo,  founder  of  the  rule  of  monastic  life 
followed  to  a great  extent  by  the  Austin  Canons  of  St.  Victor,  who 
served  the  Abbey. 

2.  St.  Augustine,  of  Canterbury,  who  met  the  British  Bishops  not 
far  from  Bristol. 

3.  Birinus,  first  Bishop  of  the  West  Saxons. 

4.  St.  Chad,  Bishop  of  Mercia. 

5.  St.  Aldhelm,  Abbot  of  Malmesbury  and  first  Bishop  of  Sherborne. 

6.  St.  Hilda,  Abbess  of  Whitby,  to  mark  the  Northumbrian  origin 
of  Bristol  Christianity. 

7.  Bosel,  first  Bishop  of  Worcester  (resigned  in  691). 

8.  St.  Wulfstan,  Bishop  of  Worcester,  who  by  preaching  and  in- 
fluence suppressed  the  slave  trade  at  Bristol. 

9.  Robert  Fitzhardinge,  founder  of  St.  Augustine’s  Abbey,  Pro- 
vost of  Bristol  and  Canon  of  St.  Augustine’s. 

10.  St.  Thomas,  of  Canterbury,  who  was  Chancellor,  issued  the 
first  Charter  of  Liberties  to  the  burgesses  of  Bristol,  in  1155,  and 
whose  name  stands  first  among  the  witnesses  to  the  charter. 

11.  John  Wycliffe,  Prebendary  at  Aust,  in  the  Collegiate  Church 
of  Westbury-on-Trym. 

12.  William  Canynges,  five  times  mayor  of  Bristol  and  Dean  of 
the  Collegiate  Church  of  Westbury-on-Trym. 

13.  Hugh  Latimer,  Bishop  of  Worcester. 

14.  Sir  Jonathan  Trelawney,  Bishop  of  Bristol,  who  was  sent  to 
the  Tower  in  June,  1688. 

15.  Joseph  Butler,  Bishop  of  Bristol. 

16.  Charles  John  Ellicott,  Bishop  of  Worcester  and  Bristol. 

The  architect  was  J.  L.  Pearson,  and  Fitch  Vauchet,  sculptor. 
The  cost  was  about  ^2500. 


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fmm~  i£*\'.'“*^.  v -S-*  " V.  « 


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By  permission  of  the  Dean  ot  Latnedrai. 


ALTAR  AND  REREDOS  IN  BRISTOL  CATHEDRAL,  BRISTOL 


By  permission  of  Henry  W.  Taunt  & Co.,  Oxford. 

ALTAR  AND  REREDOS  IN  CHRIST  CHURCH  CATHEDRAL,  OXFORD 


THE  CATHEDRAL  CHURCH  OF  CHRIST 


55 


THE  CATHEDRAL  CHURCH  OF  CHRIST,  OXFORD 

The  Reredos  was  erected  in  1881,  and  is  constructed  of  red  Dum- 
fries sandstone.  It  was  designed  by  Mr.  Bodley.  The  central  panel 
represents  the  Crucifixion,  with  the  Virgin  Mary  and  St.  John  at  the 
foot  of  the  cross.  In  the  distance  is  a view  of  Jerusalem.  St. 
Michael,  clad  in  armor,  and  St.  Stephen,  in  a dalmatic,  are  in  the 
niches  in  the  left.  In  the  niches  on  the  right  are  St.  Augustine  in 
cope  and  mitre,  and  St.  Gabriel.  The  six  shields  above  the  niches 
contain  the  emblems  of  the  Passion.  The  small  angel  on  the  left  of 
the  Crucifixion  bears  a chalice,  and  the  one  on  the  right,  the  crown  of 
thorns.  The  figures  were  sculptured  by  Mr.  Brindley.  The  High 
Altar  is  built  of  cedar-wood,  and  the  eight  legs  are  covered  with  gilded 
carvings.  In  1901  parts  of  the  Reredos  were  decorated  in  color  and 
gilding. 


56 


SOME  NOTABLE  ALTARS 


THE  CATHEDRAL  CHURCH  OF  ST.  CUTHBERT 
AND  ST.  MARY,  DURHAM 

The  Screen  is  only  a remnant  of  what  it  once  was,  and  simply  a 
suggestion  of  its  former  glory,  when  all  its  niches  were  resplendent 
with  statues.  It  is  known  as  the  “ Neville  Screen,”  because  it  was 
erected  about  the  year  1380,  chiefly  through  the  liberality  of  John,  Lord 
Neville,  of  Raby.  Another  has  said,  “ Though  very  light  and  graceful 
in  appearance,  the  Screen  as  it  is  at  present  can  give  the  beholder 
little  idea  of  what  its  appearance  must  have  been  when  each  of  its  can- 
opied niches  contained  a figure  aglow  with  gold  color.  There  were 
originally  one  hundred  and  seven  of  these  statues,  the  centre  one  rep- 
resenting Our  Lady,  supported  on  either  side  by  St.  Cuthbert  and  St. 
Oswald.”  Even  in  its  denuded  condition  it  has  an  artistic  effect  at 
once  stately  and  majestic. 


By  permission  of  S.  B.  Bolas  & Co.,  London. 

ALTAR  AND  PARTIALLY  RESTORED  SCREEN  IN  DURHAM  CATHEDRAL 


By  permission  of  W.  H.  Barrett,  Chichester. 

ALTAR  AND  PARTIALLY  RESTORED  SCREEN  IN  CHICHESTER  CATHEDRAL 


CATHEDRAL  CHURCH  OF  THE  HOLY  TRINITY  61 


THE  CATHEDRAL  CHURCH  OF  THE  HOLY 
TRINITY,  CHICHESTER 

An  ancient  Screen  supposed  to  have  been  erected  by  Bishop  Sher- 
burne, in  1508,  did  service  for  many  years  in  the  Cathedral.  In  the 
course  of  time  it  became  dilapidated,  and  was  removed  in  i860.  In  its 
place  a marble  and  alabaster  Reredos  was  erected,  having  in  the  cen- 
tral portion  a representation  of  the  Ascension.  It  was  not  regarded  as 
altogether  satisfactory,  as  it  seemed  to  be  out  of  keeping  with  its  sur- 
roundings. In  1904  it  was  given  to  the  Church  of  St.  Saviour,  Pres- 
ton, Brighton,  and  it  was  determined  to  restore  the  ancient  Screen. 
The  design  for  the  restoration  was  drawn  by  Mr.  Somers  Clarke,  and 
the  work  executed  by  Norman  and  Burt,  of  Burgess  Hill.  The 
Screen  is  a fine  example  of  oak  carving.  Much  of  the  old  oak  in  the 
paneling  and  the  canopies  has  been  retained.  At  some  future  date  the 
design  will  be  completed  by  the  addition  of  a carved  representation  of 
the  Crucifixion  and  figures  of  the  Apostles.  An  inscription  cut  in  the 
back  reads,  “ Giving  glory  to  God,  and  in  grateful  and  affectionate 
remembrance  of  Francis  John  Mount,  Archdeacon  of  Chichester,  his 
many  friends  reerected  and  restored  this  ancient  screen,  1904.”  The 
unveiling  service  took  place  on  January  12,  1905,  when  there  was  a 
representative  gathering  of  the  Cathedral  and  local  clergy,  with  many 
friends  of  the  deceased  Archdeacon.  The  dedicatory  prayers  were 
offered  by  the  Dean,  and  the  unveiling  by  the  Bishop  of  the  Diocese, 
who  formally  handed  the  Screen  over  to  the  custody  of  the  Dean  and 
Chapter. 


62 


SOME  NOTABLE  ALTARS 


THE  CATHEDRAL  CHURCH  OF  ST.  NICHOLAS, 
NEWCASTLE-ON-TYNE 

The  Reredos  was  erected  in  1887.  The  late  R.  J.  Johnson,  of  New- 
castle, was  the  architect.  The  carver  of  the  structure  was  R.  S.  Beall. 
The  sculptor  of  the  alabaster  figures  was  Mr.  James  Sherwood  West- 
macott,  of  London,  brother  of  Mr.  Percy  Westmacott,  of  Newcastle, 
the  donor  of  the  Reredos.  The  perpendicular  style  that  prevailed  in 
the  fourteenth  century  was  followed.  Directly  above  the  Altar  in  the 
small  niches  are  nine  angels  holding  shields  with  emblems  of  the  Pas- 
sion. Above  these,  and  arranged  on  each  side  of  the  central  cano- 
pies, are  ten  figures  representing  the  same  number  of  virtues.  These 
are  as  follows : — 

Faith,  holding  a cross  ; Hope,  holding  an  anchor ; Charity,  minister- 
ing to  two  children ; Justice,  with  scales  and  a sword  ; Temperance,  with 
a bridle;  Chastity,  with  a dove  and  a sceptre;  Humility,  bearing  a yoke 
from  our  Lord’s  own  words,  “Take  my  yoke  upon  you”;  Prudence, 
holding  a serpent,  from  “Wise  as  serpents,  and  harmless  as  doves”; 
Fortitude,  with  a stout  staff;  and  Patience,  with  a ball  in  her  hand  and 
her  foot  upon  a crown.  The  rest  of  the  description  can  be  best  told 
in  the  words  of  the  architect.  He  writes:  “The  great  central  niche 
above  has  the  enthroned  figure  of  our  Lord,  one  hand  raised  in  bene- 
diction, the  other  supporting  an  orb  with  a cross  on  it.  On  either  side 
are  the  figures  of  the  four  Evangelists,  with  their  emblems,  and  beyond 
these  are  those  of  St.  Gabriel  and  the  Blessed  Virgin,  one  on  each  side. 
Below  these  two  are  the  figures  of  St.  Wilfrid  and  St.  Paulinus.  The 
upper  row  begins,  on  the  left,  looking  eastward,  with  St.  Oswald,  next 
to  whom  comes  the  Venerable  Bede.  Then  we  have  St.  Nicholas,  the 
patron  saint  of  the  Church.  The  central  place  is  given  to  St.  Cuth- 
bert,  the  most  famous  of  the  Northumbrian  saints,  who  carries  the 
head  of  St.  Oswald.  Then  comes  St.  Aiden,  Cuthbert’s  predecessor, 
St.  Benedict  Biscop,  the  founder  of  the  monasteries  of  Wearmouth 
and  Jarrow,  and  lastly,  St.  Edwin  the  King.  The  material  used  is 
finely  selected  English  alabaster,  the  figures  being  purely  white  and 


By  permission  of  F.  & W.  Dodsworth,  Nevvcastle-on-Tyne. 

ALTAR  AND  REREDOS  IN  THE  CATHEDRAL  OF  ST.  NICHOLAS,  NEVVCASTLE-ON-TYNE 


THE  CATHEDRAL  CHURCH  OF  ST.  NICHOLAS  65 


the  structure  graduated  in  color,  the  work  nearer  the  floor  being 
darker,  and  the  whole  carefully  chosen  of  paler  tint  towards  the  upper 
part.  A rich  cornice  and  brattishing  finish  the  top  of  the  Reredos, 
with  a spire  over  the  central  canopy  that  contains  the  figure  of  St. 
Cuthbert.  Splayed  screens  of  Caen  stone,  paneled  and  traceried,  con- 
nect the  Reredos  with  the  pillars  of  the  arcade  on  either  side,  and 
westward  come  the  sedilia  on  the  south,  with  corresponding  recesses 
on  the  north  side,  all  worked  out  in  Caen  stone,  with  very  rich  canopy- 
work  pinnacles  and  brattishing.”1  The  cost  of  the  Reredos  was 
^4000. 

1 The  Reredos  in  Newcastle  Cathedral , pp.  12,  13. 


66 


SOME  NOTABLE  ALTARS 


THE  CATHEDRAL  CHURCH  OF  ST.  PAUL,  LONDON 

The  Sanctuary  of  this  Cathedral  is  a noble  and  commanding  ex- 
ample of  ecclesiastical  art.  The  Screens  and  Reredos  were  designed 
by  those  widely  known  English  architects,  Bodley  and  Garner.  The 
latter  gentleman  read  the  following  account  before  the  St.  Paul’s 
Ecclesiological  Society:  — 

“ The  design  consists  of  a basement,  against  which  the  Altar  stands, 
with  small  doorways,  to  give  access  to  the  apse  behind.  Over  these 
doorways,  which  are  of  pierced  brass,  are  angels  supporting  the  crossed 
swords  and  keys,  the  arms  of  the  diocese,  and  emblems  of  St.  Paul  and 
St.  Peter,  and  they  are  flanked  by  sculptured  festoons  of  fruit  and 
flowers  separated  by  marble  panels.  Above  this  is  a range  of  sculp- 
tured panels  with  colored  marble  backgrounds,  supporting  an  open 
colonnade  of  semicircular  plan.  A large  group  of  sculpture,  a sort  of 
carved  picture  in  bold  relief,  occupies  the  centre,  flanked  on  each  side 
by  twisted  columns  of  rich  Brescia  marble,  wreathed  with  foliage  in 
gilded  bronze.  These  support  an  entablature  and  rich  pediment.  The 
frieze  is  of  rosso  antico,  bearing  the  inscription  ‘ Sic  Deus  dilexit 
mundum'  (‘So  God  loved  the  world’)  in  gilt-bronze  letters.  The 
whole  is  crowned  with  a central  niche  and  surrounding  statues,  at  a 
height  of  between  sixty  and  seventy  feet  from  the  ground. 

“The  genera]  idea  of  the  sculptured  subjects  is  to  express  the  Incar- 
nation and  Life  of  our  Lord,  beginning  with  the  two  figures  at  the 
extremities  of  the  colonnade,  which  are  those  of  the  angel  Gabriel  and 
St.  Mary,  and  represent  the  Annunciation.  The  panel  on  the  north 
side  is  the  Nativity;  the  large  subject  in  the  centre  the  Crucifixion, 
with  the  Entombment  beneath  it;  and  the  group  on  the  south  side  the 
Resurrection.  The  panels  of  the  pedestals  are  filled  with  angels  bear- 
ing instruments  of  the  Passion.  The  niche  above  the  pediment  is 
occupied  by  the  figure  of  St.  Mary,  with  the  Divine  Child  in  her  arms, 
with  the  statues  of  St.  Paul  and  St.  Peter  on  either  hand.  The  figure 
on  the  summit  of  the  niche  is  an  ideal  one  of  the  risen  Saviour. 

“ The  entire  Altar  Screen  is  executed  in  white  Parian  marble,  with 
bands  and  panels  of  rosso  antico,  verde  di  Prato,  and  Brescia  marbles. 


By  permission  of  Cyril  Ellis,  London. 


ALTAR  AND  REREDOS  IN  ST.  PAUL’S  CATHEDRAL,  LONDON 


THE  CATHEDRAL  CHURCH  OF  ST.  PAUL  69 


The  enrichments  are  generally  gilt,  the  steps  in  front  of  the  Altar  are 
of  white  marble,  and  the  pavement  of  rosso  antico,  Brescia,  verde  di 
Prato,  like  the  Reredos.” 

The  Reredos  rises  to  a height  of  seventy-five  feet.  It  cost  the  sum 
of  ;£ 28,000,  and  the  Screens  ^5500.  The  Altar  was  the  gift  of  Mrs. 
Ambrose,  the  sister  of  the  late  Rev.  Dr.  Liddon. 


70 


SOME  NOTABLE  ALTARS 


THE  CATHEDRAL  CHURCH  OF  ST.  SAVIOUR, 
SOUTHWARK,  LONDON 

The  Altar  Screen  has  much  historic  interest.  It  dates  from  1520 
and  is  ascribed  to  the  generosity  of  Bishop  Fox,  who  a little  before 
had  bestowed  a like  gift  upon  Winchester  Cathedral.  The  Rev. 
Canon  Thompson,  M.A.,  D.D.,  the  present  Rector  and  Chancellor  of 
the  Cathedral  Church  of  St.  Saviour,  writes : “ The  Screen,  which  is 
about  thirty  feet  in  height,  is  divided  horizontally,  as  in  the  Winches- 
ter example,  into  three  stages  or  stories.  Vertically  it  is  also  tripartite. 
This  arrangement  was  adopted  in  allusion  to  the  sacred  number  three. 
The  most  important  variations  from  its  original  design,  for  which 
Wallace,  the  architect,  who  restored  it  in  1833,  is  responsible,  consist 
in  the  addition  of  the  cornices,  filled  with  angels,  above  the  lowest 
and  second  stories,  and  over  the  third,  the  range  of  angels  holding 
shields.  But  the  most  significant  change  was  the  introduction  of 
niches,  in  the  middle  space  of  the  lowest  stage,  behind  the  High 
Altar.  This  space,  which  seems  to  have  been  an  exact  square,  was 
left  entirely  blank  by  Fox,  with  the  exception  of  two  small  niches,  one 
on  each  side,  close  to  the  ogee-headed  doorways.  The  Winchester 
Screen  possessed  this  same  peculiarity.  The  blank  was  evidently  in- 
tended by  the  Bishop  to  be  occupied  by  some  work  of  art  in  painting, 
sculpture,  or  mosaic.  And  when  we  proceed  to  fill  the  niches  with 
statues,  a work  which  will  no  doubt  be  soon  taken  in  hand,  it  would 
be  only  fair  to  the  memory  of  the  munificent  Prelate,  who  has  left  us 
this  valuable  legacy,  to  return  to  his  original  design.  The  correspond- 
ing space  in  Winchester  Cathedral,  which  for  some  years  had  been 
occupied  by  Benjamin  West’s  picture  of  the  Raising  of  Lazarus, 
is  now  filled  with  niches  containing  figures  of  some  minor  saints.  At 
present  our  Screen  is  like  a picture  frame  without  the  picture  — a 
scene  of  magnificent  emptiness.  But  when  the  niches  are  filled  up 
with  appropriate  statues,  what  a resplendent  spectacle  we  shall  have  in 
this  Choir  — an  assemblage  of  angels  and  saintly  men  of  the  past, 
prophets  and  apostles  uniting,  as  it  were,  in  the  glorious  anthem  Te 


By  permission  of  Canon  Thompson. 

ALTAR  AND  PARTIALLY  RESTORED  SCREEN  IN  SOUTHWARK  CATHEDRAL 


THE  CATHEDRAL  CHURCH  OF  ST.  SAVIOUR  73 

Deurn  Laudamus.  The  ancient  materials  of  the  Screen  consist  of 
Caen  and  firestone.  Painswick  stone  was  used  in  its  restoration. 
Such  portions  as  are  new  were  scrupulously  worked  from  models 
made  from  the  original  remains,  and  replaced  in  the  same  situations 
which  were  occupied  by  the  originals.”  He  also  adds : “ Considerable 
portions  of  the  original  remain.  The  background  or  foundation  of 
the  Screen  is  old.  When  the  wooden  Baldachino  was  removed,  the 
large  central  niche  in  the  uppermost  tier  possessed  remains  of  an 
elegant  canopy  enriched  on  the  under  side  with  elaborate  fan-tracery  ; 
the  five  smaller  niches  on  either  side  of  it  contained  similar  interesting 
details.  The  angular  buttresses  springing  from  the  ground  and  sepa- 
rating them  appeared  to  have  been  untouched,  and  these  were  pre- 
served where  possible.  The  cornice  surmounting  the  whole  was 
enriched  with  the  Agnus  Dei  and  the  Pelican,  interspersed  with 
oak  leaves  and  acorns,  and  in  the  pedestals  were  figures  of  angels  and 
lions,  grotesque  heads  and  foliage.  In  the  cornice  of  the  middle  stage 
two  monks,  holding  a shield  between  them,  formed  the  prevailing  de- 
vice, the  intervening  spaces  being  filled  with  roses,  lilies,  and  twisted 
thorns,  showing  also  the  head  of  the  Saviour,  and  that  of  St.  John, 
beautifully  moulded,  all  in  the  highest  state  of  preservation,  and  as 
fresh  as  if  they  had  just  come  from  the  sculptor’s  hands.  In  the 
lowest  stage  the  doorways  were  discovered  uninjured  and  also  the 
niches,  canopies,  and  pedestals,  with  carvings  and  enrichments  similar 
to  those  already  described.” 1 

1 The  History  and  A?itiquities  of  the  Collegiate  Church  of  St.  Saviour , pp.  317,  318,  319. 


74 


SOME  NOTABLE  ALTARS 


WESTMINSTER  ABBEY,  LONDON 

The  Altar  and  Reredos  were  erected  in  1867  after  a design  by  Sir 
George  Gilbert  Scott.  The  central  compartment  is  done  in  mosaic 
by  Salviati  and  represents  the  Last  Supper.  The  sculptured  figures 
are  by  Mr.  Armstead. 

In  The  Globe  of  September  1,  1866,  appeared  the  following:  “A 
beautiful  and  valuable  mosaic  picture  on  gold  ground  representing  the 
1 Last  Supper  ’ has  just  been  completed  for  the  Dean  and  Chapter  of 
Westminster,  and  will  shortly  be  placed  in  the  Reredos  of  the  Abbey. 
Dr.  Salviati,  although  he  has  only  for  a few  years  turned  his  attention 
to  the  production  of  mosaic  works,  has.  attained  considerable  celebrity 
in  the  art,  and  by  the  production  of  a pure  and  durable  enamel,  his 
mosaics  are  considered  to  equal,  and  even  surpass,  those  of  the  ancient 
masters.” 


I.  t.  . t*JL  £ kS^tuUlgj  ■ 


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By  permission  of  Cyril  Ellis,  London. 

AND  TRIPTYCH  IN  THE  CHURCH  OF  ST.  ALBAN  THE  MARTYR,  HOLBORN,  LONDON 


THE  CHURCH  OF  ST.  ALBAN  THE  MARTYR  79 


THE  CHURCH  OF  ST.  ALBAN  THE  MARTYR,  HIGH 

HOLBORN,  LONDON 

A book  published  in  the  interests  of  the  parish  contains  the  follow- 
ing description  of  the  High  Altar:  — 

“The  great  central  piece  is  divided  into  six  compartments,  arranged 
in  the  following  way:  — 

“The  Trial,  St.  Alban,  The  Finding  of  his  Relics,  The  Scourging, 
The  Martyrdom,  The  Translation  to  St.  Alban’s  Abbey. 

“The  left  wing  (spectator’s  left)  contains  the  following  large  figures:  — 

“St.  George,  St.  Benedict,  St.  Amphibalus,  Ven.  Bede,  and  twelve 
smaller  figures. 

“ The  right  wing  contains  the  following  large  figures : — 

“ St.  Augustine  of  Canterbury,  St.  Thomas  of  Canterbury,  St. 
Erconwald  of  London,  St.  Edward,  King,  and  twelve  smaller  figures. 

“ The  inscription  running  along  the  top  of  the  central  piece  is  ‘Ave 
prothomartyr  Anglorum,  miles  Regis  Angelorum.  Albane,  flos  Mar- 
ty rum  ’ (‘Hail!  Proto-martyr  of  the  English,  Soldier  of  the  King  of 
Angels.  O Alban,  flower  of  martyrs  ’).  The  words  are  from  the 
Antiphon  on  his  Feast  Day. 

“ The  three  detached  figures  which  rise  above  the  rich  cresting  are, 
in  the  centre,  the  Lord  seated  upon  His  throne,  His  hand  raised  in 
blessing,  Our  Blessed  Lady,  and  the  Archangel  Gabriel. 

“ The  subjects  of  the  centre-piece  are  carved  in  alabaster  set  in  a 
massive  frame  of  oak.  The  important  lines  and  features  of  the  sculp- 
ture are  touched  with  gold ; the  lining  of  the  draperies  painted  a pale 
and  quiet  blue.  All  the  woodwork,  with  its  richly  moulded  canopies, 
buttresses,  pinnacles,  etc.,  is  gilt  upon  red,  but  the  gold  is  everywhere 
lacquered  in  varied  tones  of  green  and  brown  and  red.  The  sculp- 
tures of  the  wings  are  all  in  wood,  gilt,  and  colored.  The  massive 
hinges  which  connect  them  with  the  centre  are  relieved  of  some  of  the 
weight  by  wrought-iron  brackets,  which  support  the  outer  corners  of 
the  wings.  These  ponderous  masses  of  knotted  oak  swing  quite  easily 
when,  in  Passiontide,  the  doors  are  closed. 

“ The  whole  was  designed  by  Messrs.  Bodley  and  Garner,  and  exe- 
cuted by  Messrs.  Farmer  and  Brindley.” 


8o 


SOME  NOTABLE  ALTARS 


ST.  PAUL’S  CHURCH,  KNIGHTSBRIDGE,  LONDON 

The  Reredos  was  erected  in  1870  of  stone.  The  central  compart- 
ment has  the  Crucifixion  with  historic  characters  on  either  side.  The 
large  figures  are  St.  Ambrose,  St.  Augustine,  St.  Jerome,  and  St. 
Gregory.  The  architect  was  R.  H.  Withers.  The  building  of  the 
Reredos  around  the  east  window  is  a somewhat  novel  treatment. 


By  permission  of  Cyril  Ellis,  London. 


ALTAR  AND  REREDOS  IN  ST.  PAUL'S  CHURCH,  KNIGHTS  BRIDGE,  LONDON 


By  permission  of  Cyril  Ellis,  London. 

ALTAR  AND  R ERE  DOS  IN  ST.  STEPHEN’S  CHURCH,  LONDON 


ST.  STEPHEN’S  CHURCH 


85 


ST.  STEPHEN’S  CHURCH,  KENSINGTON, 
LONDON 

The  Reredos  is  arranged  in  three  tiers.  The  figures  are  of  carved 
wood,  richly  gilded,  with  a background  of  red.  In  the  centre  of  the 
first  tier  is  a representation  of  our  Lord  in  glory,  in  the  attitude  of 
blessing.  Angels  are  on  either  side.  These  figures  are  nearly  life 
size.  In  the  second  tier  the  figures  are  smaller.  The  Nativity  is  in 
the  middle  and  the  Annunciation  on  either  side.  In  the  third  tier  the 
Blessed  Virgin  is  in  the  centre.  On  the  left  are  Moses,  Isaiah,  and  St. 
John  the  Baptist.  On  the  right  are  St.  Stephen,  St.  Peter,  and  St. 
Paul.  The  figures  were  carved  by  Mr.  Bridgeman,  of  Lichfield,  and 
decorated  by  Mr.  Powell,  of  London.  The  contractor  was  Mr.  Martin, 
of  London,  and  the  architect  Mr.  Bodley.  The  cost  was  about  ^500. 
The  Reredos  was  erected  in  1901. 


86 


SOME  NOTABLE  ALTARS 


CHURCH  OF  THE  HOLY  REDEEMER,  CLERKEN- 

WELL,  LONDON 

The  Baldachino  was  begun  in  1888  and  completed  in  1895.  It  is 
constructed  of  brick,  cement,  and  wood,  with  pillars,  friezes,  etc.,  in 
Scagliola,  and  surface  with  ornamental  work  in  plaster.  It  was 
designed  by  J.  D.  Sedding,  the  architect  of  the  church,  after  a work 
of  a similar  character  in  marble  and  bronze  over  the  High  Altar  of 
San  Spirito  in  Florence.  The  work  was  begun  by  Pomeroy  and  Cay, 
and  finished  by  Rider.  It  cost  something  above  ^600. 


’'‘-D'Sm; 


wrrnmS 


if 

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By  permission  of  Cyril  Ellis,  London. 


ALTAR  AND  BALDACHINO  IN  THE  CHURCH  OF  THE  HOLY  REDEEMER,  CLERKENWELL,  LONDON 


By  permission  of  Cyril  Ellis,  London. 

altar  AND  RF.REDOS  IN  THE  CHURCH  OF  ST.  JOHN  THE  DIVINE,  KENSINGTON, 

LONDON 


mm 

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1^1 

CHURCH  OF  ST.  JOHN  THE  DIVINE 


9i 


CHURCH  OF  ST.  JOHN  THE  DIVINE,  KENSINGTON, 

LONDON 

The  Altar  is  of  cedar- wood  and  was  erected  in  1874. 

“ The  Reredos  reaches  almost  to  the  groining  of  the  roof.  It  is  of 
wood,  beautifully  carved  by  Messrs.  Farmer  and  Brindley,  the  well- 
known  art  sculptors  of  Westminster  Bridge  Road,  and  occupies  the 
whole  space  of  the  easternmost  span  of  the  apse.  The  frame  is  of  most 
elaborately  carved  work,  painted  red,  and  almost  entirely  covered  with 
gold.  All  round  the  frame  there  runs  a most  delicate  cresting,  which 
gives  considerable  lightness  to  what  is  in  itself  a very  massive  structure, 
and  the  carving  of  the  inner  frame  represents  grapes  and  corn.  Im- 
mediately above  the  Altar  there  are  three  shelves,  on  the  front  of  the 
middle  of  which  is  written  : — 

“ ‘ Benedictus  Qui  venit  in  Nomine  Domini.’ 

“ ‘ Blessed  is  He  that  cometh  in  the  Name  of  the  Lord.’ 

“ The  Reredos  is  divided  into  two  main  divisions,  in  each  of  which 
there  is  a large  central  subject  flanked  by  a figure  on  either  side.  In  the 
lower  compartment  we  have  represented  to  us  the  Annunciation.  The 
Blessed  Virgin  is  kneeling  on  a faldstool,  inscribed  with  the  word 
‘ Emmanuel,’  and  dressed  in  the  traditional  blue  robe,  whilst  the  Angel 
Gabriel  in  a white  robe,  and  with  golden  wings  and  lily  in  his  hand,  is 
announcing  to  her  the  high  honor  to  which  she  is  called.  Beneath, 
in  gilt  letters,  is  the  angelic  salutation:  ‘ Ave  Gratia  Plena.’  On 
the  south  side  of  the  Annunciation  is  the  figure  of  St.  Hugh,  Bishop 
of  Lincoln,  in  which  diocese  this  part  of  the  country  used  to  be,  repre- 
sented with  his  traditional  swan,  and  on  the  north  side  St.  Augustine 
of  Canterbury,  as  one  to  whom  we  owe  so  much  for  the  revival  of  the 
Catholic  religion  in  this  fair  land  of  ours.  In  the  upper  compartment 
there  is,  as  the  central  subject,  the  Crucifixion,  with  St.  Mary  and  St. 
John  at  the  Cross,  and  on  either  side,  above  St.  Hugh,  the  figure  of  St. 
Michael,  clad  in  armor,  and  St.  Raphael  above  St.  Augustine  of  Can- 
terbury, exhibiting  him  in  the  dress  of  a pilgrim  or  traveller : 4 his 


92 


SOME  NOTABLE  ALTARS 


habit  fit  for  speed  succinct  ’ : sandals  on  his  feet,  his  hair  bound  with  a 
diadem,  the  staff  in  his  hand,  and  a bottle  of  water  slung  over  his 
shoulders.  Above  all  there  is  a pinnacled  coving  — red  and  gold  — 
with  the  legend  : — 

“ ‘ Sic  Deus  dilexit  mundum,’ 

“ ‘ So  God  loved  the  world/ 

written  thereon.”  The  above  account  is  taken  from  a parish  publica- 
tion. The  Reredos  was  designed  by  Sir  G.  F.  Bodley  and  cost  £700. 


By  permission  of  Cyril  hms,  i^onaon. 

ALTAR  AND  REREDOS  IN  THE  CHURCH  OF  ST.  MARY,  SOHO,  LONDON 


ST.  MARY’S  CHURCH 


95 


ST.  MARY’S  CHURCH,  SOHO,  LONDON 

The  Altar  is  of  oak,  designed  by  an  architect  who  was  a pupil  of 
Mr.  Street.  It  was  built  at  a cost  of  £ 1 50.  It  is  in  dimensions  ten  feet 
long,  twenty-nine  inches  broad,  and  thirty-nine  inches  high.  On  the 
front  of  the  Altar  are  four  angels  bearing  shields.  On  the  shield  of 
the  first  appear  a chalice  and  paten,  on  the  second  a lamb  and  flag,  on 
the  third  a pelican,  and  on  the  fourth  a serpent  on  a cross.  There  are 
also  three  panels  containing  deeply  cut  representations  of  the  Annun- 
ciation, the  Adoration  of  the  Magi,  and  the  Presentation  in  the 
Temple.  The  figures  have  been  recently  decorated  by  gilding.  The 
large  crucifix  is  of  marble  and  was  sculptured  by  Miss  Grant  of  Chelsea. 
St.  Mary’s  Church  has  a very  unique  history. 

The  Nave  was  the  first  Greek  Church  in  England  ; built  by  the 
Archbishop  of  Samos  for  Greek  exiles  in  1677;  used  afterwards  by  the 
Huguenots  for  one  hundred  and  forty  years,  till  1832  ; introduced  by 
William  Hogarth  into  his  picture,  “ Noon,”  1738;  occupied  by  Calvinist 
Paedo- Baptists  until  1849;  consecrated  for  the  Church  of  England, 
1850;  became  a parish  church  in  1856;  described  by  Hall  Caine  in 
The  Christian;  destroyed  by  the  London  Common  Council  as  a 
“dangerous  structure”  in  1898;  and  rebuilt,  and  reopened  in  April, 
1901.  Corner-stone  of  chancel  was  laid  by  Canon  Liddon,  in  1872. 


96 


SOME  NOTABLE  ALTARS 


CHURCH  OF  ST.  AGNES,  KENSINGTON,  LONDON 

The  Triptych  or  Altar-piece  is  a memorial  erected  in  1891  by  the 
then  Vicar  of  the  parish,  the  Rev.  T.  D.  Dover,  in  memory  of  his 
mother.  It  is  made  of  oak  elaborately  decorated  in  gold  and  colors. 
In  the  centre  is  a sculptured  group  representing  the  Annunciation. 
About  it  are  figures  of  the  twelve  apostles,  St.  Agnes,  St.  Cuthbert, 
the  Venerable  Bede,  St.  Ethelbert,  St.  Columba,  St.  Augustine,  and 
others.  The  architect  was  Sir  George  Gilbert  Scott.  Mr.  Temple  L. 
Moore  largely  assisted  in  the  details  and  in  the  general  superintendence 
of  the  work.  The  designs  were  executed  by  Mr.  Elwell  and  the  sculp- 
tured figures  by  Farmer  and  Brindley.  The  cost  was  about  ^600. 


By  permission  of  Cyril  Ellis,  London. 

ALTAR  AND  TRIPTYCH  IN  THE  CHURCH  OF  ST.  AGNES,  KENSINGTON,  LONDON 


ALTAR  AND  REREDOS  IN  ST.  BARNABAS  CHURCH,  PIMLICO,  LONDON 


ST.  BARNABAS  CHURCH 


IOI 


ST.  BARNABAS  CHURCH,  PIMLICO,  LONDON 

The  Reredos  was  erected  in  1892,  and  throughout  is  constructed  of 
wood.  In  the  middle  of  the  lower  line  of  figures  we  have  the  Annun- 
ciation, and  on  the  right  hand  St.  Barnabas  and  St.  Anselm  of  Canter- 
bury. On  the  left  hand  St.  Paul  and  St.  Augustine  of  Hippo.  The 
middle  of  the  second  line  is  occupied  with  the  Crucifixion,  the  Blessed 
Virgin,  and  St.  John.  On  either  side  are  two  angels.  Mr.  Bodley 
was  the  architect,  and  the  figures  were  carved  in  Belgium.  The  cost  of 
the  whole  was  ^1000. 


102 


SOME  NOTABLE  ALTARS 


ST.  JOHN’S  CHURCH,  HACKNEY,  LONDON 

In  the  St.  John  at  Hackney  Magazine , for  September,  1904,  the 
history  of  the  Reredos,  written  by  one  of  the  Curates  and  sent  by  the 
courtesy  of  the  Vicar,  the  Rev.  Algernon  G.  Lawley,  M.A.,  reads  thus: 
“ The  following  inscription  is  written  on  a brass  band  at  the  base  of 
the  carving,  ‘Dedicated  to  the  Glory  of  God  a.d.  1886,  by  the  Rec- 
tor of  the  Parish  and  his  wife  in  thankful  memory  of  their  father, 
John  Jackson,  Bishop  of  this  Diocese  1869-1885.’  The  Rector  at 
that  time  was  the  Rev.  Arthur  Brook,  whose  wife  was  a daughter  of 
Bishop  Jackson. 

“ The  architect  was  Sir  Arthur  Blomfield,  and  the  sculptor  Mr.  For- 
syth of  Finchley  Road,  N.W. 

“ The  Reredos  is  carved  in  bold  relief  in  oak,  the  total  cost  being 

some  ^350. 

'•'  The  general  idea  is  that  of  witness  to  Christ,  and  the  five  panels 
illustrate  the  texts  of  Scripture  above  which  they  are  placed.  The 
large  central  panel  is  a picture  of  St.  John  i.  34:  ‘And  I saw  and 
bare  record  that  this  is  the  Son  of  God.’  The  scene  is  laid  on  the 
banks  of  the  Jordan.  In  the  lower  part  St.  John  the  Baptist,  clothed 
in  his  camel-skin,  stands  out  boldly  from  among  his  disciples  and  with 
uplifted  arm  is  pointing  to  the  central  figure  of  our  Lord.  A second 
text  is  carved  below,  ‘ Behold  the  Lamb  of  God  which  taketh  away  the 
sins  of  the  world.’ 

“ On  either  side  are  two  smaller  panels,  and  the  same  idea  of  witness 
is  still  the  dominating  note.  In  the  upper  panels  St.  John  is  deliver- 
ing his  message  and  preparing  the  way,  whilst  in  the  lower  panels  the 
Holy  Ghost  is  descending  and  taking  up  the  work  and  sending  men 
forth  with  strength  and  power  to  carry  on  the  life  of  witness  among 
their  fellow-men. 

“On  the  left-hand  or  dexter  side  the  two  texts  illustrated  are:  first 
the  prophecy,  ‘ He  shall  baptize  with  the  Holy  Ghost,’  and  the  fulfil- 
ment, ‘They  were  all  filled  with  the  Holy  Ghost.’  Above  we  have  St. 
John  baptizing  in  the  Jordan,  and  the  crowd  standing  watching  on 


■ 


By  permission  of  Cyril  Ellis,  London. 

ALTAR  AND  REREDOS  IN  ST.  JOHN’S  CHURCH,  HACKNEY,  LONDON 


ST.  JOHN’S  CHURCH 


105 

the  bank  recalls  the  story  of  St.  Luke  who  tells  us  of  the  people  and 
the  publicans  and  the  soldiers  who  came  to  ask  what  the  prophet 
would  have  them  do.  Below  we  see  the  outpouring  of  the  Holy 
Ghost  on  the  great  day  of  Pentecost  and  the  tongues  of  fire  descend- 
ing upon  the  waiting  Apostles. 

“ On  the  other  side  the  two  texts  are : ‘ He  must  increase,  but  I 
must  decrease,’  and  ‘ The  Holy  Ghost  came  on  them.’ 

“ The  idea  would  seem  to  be  expressed  by  the  word  of  the  prophet, 
‘ Not  by  might,  nor  by  power,  but  my  spirit,  saith  the  Lord  of  Hosts.’ 
Reliance  must  be  placed,  not  on  man,  but  upon  the  Holy  Spirit  of  God 
working  within  us.  Above  the  first  text  there  stands  St.  John  preach- 
ing to  the  people,  at  once  the  boldest  and  the  humblest  of  obedient 
messengers.  Below  we  have  a picture  of  an  early  Confirmation,  the 
simple  laying-on-of-hands  by  an  Apostle  upon  two  young  men,  kneel- 
ing to  receive  God’s  gift  of  the  Holy  Spirit,  that  they  may  do  the 
work  whereunto  God  has  called  them.” 


io6 


SOME  NOTABLE  ALTARS 


CHURCH  OF  ST.  GILES,  CRIPPLEGATE,  LONDON 

The  Reredos  is  modern  and  was  erected  about  twelve  years  ago. 
The  middle  painting  represents  Christ  as  the  King  of  Kings  and 
Lord  of  Lords.  On  the  Epistle  side  is  a figure  of  St.  Paul  and  on  the 
Gospel  side  one  of  St.  Giles.  All  the  three  paintings  were  executed 
by  Mr.  C.  E.  Buckeridge.  The  carvings  of  angel  heads,  the  eagle,  the 
vine  and  grapes  are  effective  and  artistic. 


ly  permission  of  Cyril  Ellis,  London. 


By  permission  of  Cyril  Ellis,  London. 

ALTAR  AND  REREDOS  IN  OLD  ST.  PANCRAS  CHURCH,  LONDON 


OLD  ST.  PANCRAS  CHURCH 


1 1 1 


OLD  ST.  PANCRAS  CHURCH,  LONDON 

The  present  Vicar,  the  Rev.  Robert  A.  Eden,  writes:  “At  old  St. 
Pancras  Church,  London,  we  are  still  in  possession  of  the  old  Altar 
stone  which  has  come  down  to  us  apparently  from  Norman  times. 
In  1848  the  tower  at  the  west  end  of  the  Church  was  pulled  down  to 
lengthen  the  nave.  At  that  time  the  Altar  stone  was  discovered, 
buried  about  six  feet  below  the  surface  of  the  ground.  It  must  have 
been  placed  there  in  Reformation  times,  either,  if  the  Vicar  of  that  day 
was  a man  of  Catholic  views,  to  save  it  from  desecration  at  the  hands 
of  the  destroyer,  or  else,  if  he  was  of  Puritan  sentiments,  to  prevent 
such  a ‘ monument  of  superstition  ’ from  ever  again  seeing  the  light. 
However  that  may  be,  the  stone  was,  on  its  discovery,  placed  under  the 
Altar,  where  it  formed  part  of  the  Sanctuary  pavement.  It  was  there, 
at  any  rate,  safe  from  desecration  and  could  not  be  trodden  upon,  as 
the  Altar  stood  over  it.  In  1888  the  Chancel  was  rearranged,  and  at 
that  time  the  present  Altar  was  constructed  in  the  following  way. 
The  front  and  the  two  ends  were  made  of  the  fine-carved  and  inlaid 
oak  panels  of  a seventeenth-century  oak  pulpit,  which  then  stood  in 
the  Church,  but  which  had  to  be  removed.  Three  panels  were  in 
front  and  one  at  each  end.  A new  oak  mensa  was  made,  and  the  old 
Altar  stone  was  inserted  in  the  midst  of  it,  so  that  its  surface  was  flush 
with  the  surface  of  the  rest  of  the  mensa.  The  Altar  stone  is  quite 
small,  being  about  seventeen  inches  long  and  nine  inches  wide. 
When  the  new  Altar  was  made,  orders  were  given  that  every  part  of 
the  table  which  had  served  as  the  Altar  in  recent  times,  say  for  two 
hundred  years,  should  be  employed  in  the  backing  or  some  other  part 
of  the  new  structure ; so  our  present  Altar  may  be  said  to  be  three  Al- 
tars formed  into  one.  The  size  of  the  present  Altar  is  thirty-eight  inches 
high,  twenty-six  inches  wide,  and  seven  feet  long.  The  Reredos  consists 
of  a carved  oak  triptych,  with  mahogany  panels  richly  colored  and 
gilded.  It  was  made  in  1897  by  Thompson  of  Peterborough  from  a de- 
sign by  the  late  Sir  A.  W.  Blomfield,  A.R.A.  The  painting  and  gilding- 
are  the  work  of  Messrs.  Buckeridge  and  Floyce,  artists  of  great  promise, 


I 12 


SOME  NOTABLE  ALTARS 


who  both  died  in  very  early  life.  On  the  central  panel  is  represented 
our  Lord  upon  the  Cross,  with  St.  Mary  on  the  one  side  and  St. 
John  on  the  other.  On  the  lower  panel  of  the  left  wing  or  folding 
door  of  the  triptych  is  St.  Pancras,  the  boy-martyr,  holding  in  his  left 
hand  a book,  and  in  his  right  a sword  and  a palm  branch,  the  one  the 
instrument  and  the  other  the  symbol  of  his  martyrdom,  while  he 
tramples  upon  a fallen  idol,  an  action  indicating  the  moral  effect  of 
his  faithfulness  unto  death.  On  the  opposite  wing  appears  St.  Paul, 
the  Patron  Saint  of  the  Cathedral  of  the  Diocese.  He  is  introduced 
to  mark  the  connection  between  the  Cathedral  and  Old  St.  Pancras 
Church,  the  vicarage  of  the  latter  having  been  in  the  gift  of  the  Dean 
and  Chapter  of  St.  Paul’s  from  about  the  year  i ioo.  The  four  panels 
over  the  two  patron  saints  contain  the  apocalyptic  emblems  of  the 
four  Evangelists.  The  Triptych  rests  upon  the  upper  shelf  of  a 
Retable  of  black  marble;  the  lower,  a broader  shelf  of  the  same  ma- 
terial, is  some  ten  or  twelve  inches  above  the  Altar,  and  supports  the 
Altar  cross  and  candlesticks.  The  back  of  the  folding  doors,  which 
are  kept  closed  in  Lent,  is  simply  treated  with  a powdering  of  conven- 
tional flowers  in  gilt  upon  a dull  red  ground.” 


ALTAR  \ V n T!)  1 DTurn  ,,,  ™TT„  By  permission  of  the  Vicar. 

c ar  AND  triptych  IN  the  CHURCH  OF  ST.  MARY  THE  VIRGIN,  PR IMROSE  HILL 

LONDON 


CHURCH  OF  ST.  MARY  THE  VIRGIN 


"5 


CHURCH  OF  ST.  MARY  THE  VIRGIN,  PRIMROSE 

HILL,  LONDON 

The  Triptych  was  designed  by  Sir  G.  F.  Bodley  at  a cost  of  £ 700. 
The  material  is  wood  painted  red  with  gilding.  In  the  centre  are  the 
Virgin  and  Child  with  an  angel  on  either  side.  In  the  same  row  are 
Isaiah  and  St.  John  the  Baptist.  The  Annunciation  is  below.  The 
Altar  is  nine  feet  one  inch  long,  two  feet  eight  inches  wide,  and  three 
feet  three  inches  high.  The  mensa  rests  on  an  arcade  of  wood. 
There  are  four  iron  posts,  with  copper  sconces  for  candles  by  Harold 
Staller.  The  cost  of  the  Altar  was  £20.  The  dorsal,  the  frontal  of 
tapestry,  and  frontlet  of  velvet  are  the  work  of  the  St.  Dunstan  Society. 
The  cost  was  ^19.  The  Vicar  of  this  parish  is  the  Rev.  Percy 
Dearmer,  M.A.,  widely  known  as  the  author  of  The  Parson s Hand- 
book. The  Altar  of  the  parish  is  arranged  according  to  the  directions 
of  this  book. 


SOME  NOTABLE  ALTARS 


1 16 


CHURCH  OF  ST.  ANNE,  EASTBOURNE 

The  central  subject  of  the  Altar  Screen  is  our  Lord,  as  the  Saviour 
of  the  world,  attended  by  six  adoring  angels. 

On  either  side  are  figures  of  St.  William  of  York  and  St. 
George  of  England.  St.  William  was  chosen  in  reference  to  the 
name  of  one  of  the  persons  commemorated  in  the  memorial,  St. 
George  as  the  saint  of  the  country. 

In  the  remaining  and  outside  niches  of  the  Altar  Screen  are  figures 
of  the  angel  Gabriel  and  the  blessed  Virgin  Mary,  representing  the 
Annunciation. 

Beneath  is  a row  of  angels  with  shields.  These  figures  are  of 
stone  in  full  relief,  painted  and  gilt. 

In  the  middle  panel  of  the  Reredos  proper  are  two  seated  figures, 
with  space  for  the  Altar  cross  between  them.  These  are,  on  one  side, 
St.  Anne,  to  whom  the  Church  is  dedicated ; on  the  other  side,  our 
blessed  Lord  as  a child,  in  the  arms  of  his  mother  St.  Mary,  to  whom 
the  mother  Church  of  the  old  parish  is  dedicated.  These  figures  were 
chosen,  therefore,  in  allusion  to  the  two  parishes. 

In  the  two  next  panels  are  figures  of  St.  Anne  with  St.  Mary 
as  a child,  in  further  allusion  to  the  dedication  of  the  said  parishes ; 
and  St.  Elizabeth  with  St.  John  Baptist  as  a child,  St.  Elizabeth  being 
chosen  in  reference  to  the  name  of  the  other  person  commemorated  by 
the  memorial. 

The  same  references  are  to  be  found  in  the  remaining  figures  of 
St.  Anne  and  St.  Joachim,  and  St.  Elizabeth  and  St.  Mary  in  the  Visi- 
tation in  the  two  end  panels  of  the  Reredos. 

Between  each  of  these  panels  is  a small  angel  with  uplifted  wings 
in  full  relief. 

The  figures  on  the  panels  are,  on  the  contrary,  in  low  relief,  and 
gilt  all  over,  upon  a gilt  background  broken  by  a small  colored 
diaper.  The  whole  of  the  Reredos  proper  is  of  pine.  W.  Bucknall 
and  J.  N.  Comper  were  the  architects.  The  cost  was  about  ^600. 


By  permission  of  Cyril  Ellis,  London. 


ALTAR  AND  REREDOS  IN  THE  CHURCH  OF  ST.  ANNE,  EASTBOURNE 


By  permission  of  Cyril  Ellis,  London. 

ALTAR  AND  R ERE  DOS  IN  ST.  MARY’S  CHURCH,  CUDDINGTON 


ST.  MARY’S  CHURCH 


I 2 I 


ST.  MARY’S  CHURCH,  CUDDINGTON 

The  Altar  is  of  oak  and  was  in  an  earlier  Church  that  stood  on  this 
spot.  The  Reredos  was  unveiled  on  Whitsunday,  1902.  It  is  built 
of  Carrara  marble  with  alabaster  supports.  The  compartment  in  the 
centre  represents  Christ  blessing  little  children.  St.  Peter,  St.  James, 
and  St.  John  are  on  the  Lord’s  right  hand,  a group  of  parents  and 
children  on  his  left,  and  a child  on  his  knee  and  others  at  his  side, 
The  Reredos  was  given  by  Mr.  C.  W.  Wismith  in  memory  of  his  wife. 
At  the  time  he  was  the  church  warden.  The  architect  was  J.  A. 
Thomas,  and  the  builders,  Farmer  and  Brindley.  The  walls  of  the 
apse  are  beautifully  finished  with  polished  stones. 


122 


SOME  NOTABLE  ALTARS 


CHURCH  OF  ST.  CUTHBERT,  NEWCASTLE-ON-TYNE 

The  whole  apse  of  this  Church  is  rich  in  its  incentives  to  the 
Christian  life  as  represented  in  its  art  creations.  The  Reredos  is  an 
epitome  of  the  leading  scenes  from  the  life  of  our  Lord  as  narrated  in 
the  New  Testament.  Towering  above  all  is  the  Crucifixion,  and  in  the 
central  panel  below  this  is  the  Transfiguration  and  still  lower  the  Last 
Supper.  On  each  panel  on  either  side  of  the  Transfiguration  are  the 
Baptism  of  Christ  and  his  Temptation.  On  the  side  panels  of  the  Last 
Supper  are  Christ  washing  the  feet  of  the  disciples  and  the  woman 
annointing  our  Lord.  On  the  south  door  of  the  Reredos  are  represen- 
tations of  Christ  presented  in  the  temple  and  the  Adoration  of  the  Magi. 
On  the  back  of  this  door,  not  seen  from  the  front,  are  Christ  before 
Herod  and  our  Lord  bearing  his  cross.  On  the  north  door  are  the 
Annunciation  and  the  Nativity.  On  the  back  of  the  door  are  Christ  in 
the  Garden  and  Pilate  washing  his  hands.  On  the  lower  and  smaller 
south  door  is  a representation  of  Christ  driving  out  the  traders  from  the 
Temple,  and  on  the  back  of  the  door  the  Betrayal  by  Judas.  On  the 
lower  north  door  is  the  scene  of  Christ  entering  Jerusalem  on  an  ass,  and 
on  the  back  of  the  door  St.  Peter’s  denial  of  his  Master.  The  decora- 
tion of  the  walls  of  the  apse  on  each  side  of  the  Reredos  is  a paneling 
in  mahogany  and  lime-tree  divided  by  the  words,  “ The  Holy  Church 
throughout  the  world  doth  acknowledge  Thee,  the  Father  of  an  infinite 
Majesty;  Thine  honorable,  true  and  only  Son;  the  Holy  Ghost,  the 
Comforter.”  In  the  upper  portion  are  sixteen  paintings.  Those  on 
the  Epistle  side  are  Abraham,  Moses,  Aaron,  David,  Isaiah,  St.  John 
the  Baptist,  the  Blessed  Virgin  Mary,  and  St.  Peter.  On  the  Gospel 
side  the  paintings  represent  St.  Paul,  St.  Stephen,  St.  Alban,  St. 
Ambrose,  St.  Hilda,  St.  Cuthbert,  St.  Gregory  the  Great,  and  St.  Anselm. 

The  wood  carving,  which  is  exceedingly  decorative  and  effective,  was 
designed  by  Mr.  Ralph  Hedley.  The  Reredos  was  the  result  of  designs 
by  Hicks  and  Charlcwood,  the  paintings  in  the  Reredos  by  Burlison  and 
Grylls,  and  the  sixteen  paintings  on  the  sanctuary  walls  by  Bacon  Brothers. 

For  much  of  this  description  of  the  Reredos  of  St.  Cuthbert’s 
Church  we  have  drawn  from  the  account  written  by  the  Rev.  W.  E. 
Nowell,  D.D.,  the  first  Vicar  of  the  parish. 


By  permission  of  F.  & W.  Dodsworth,  Ne\vcastle-on-Tyne. 

ALTAR  AND  REREDOS  IN  THE  CHURCH  OF  ST.  CUTHBERT,  NEWCASTLE-ON-TYNE 


By  permission  of  Marlborough  College. 

ALTAR  AND  HERE  DOS  IN  THE  CHAPEL  OF  MARLBOROUGH  COLLEGE 


CHAPEL  OF  MARLBOROUGH  COLLEGE 


127 


CHAPEL  OF  MARLBOROUGH  COLLEGE, 
MARLBOROUGH 

The  Altar  and  Reredos  are  built  of  Corsham  stone,  colored.  In 
the  central  compartment  is  a representation  of  the  Crucifixion  with  St. 
John  and  St.  Mary.  Above  this  the  Adoration  of  the  Magi.  The  top- 
most pinnacle  contains  a figure  of  the  Saviour.  The  eight  figures 
on  each  side  are:  1.  Angel  with  staff.  2.  Archangel  with  trumpet. 
3.  Angel  of  principalities.  4.  Angel  of  powers.  5.  Angel  of  virtues. 
6.  Angel  of  dominations.  7.  Angel  of  thorns.  8.  Cherub  singing. 


128 


SOME  NOTABLE  ALTARS 


CHAPEL  OF  JESUS  COLLEGE,  OXFORD 

The  Altar  is  a granite  slab  resting  on  six  pillars  of  the  same  ma- 
terial. The  Reredos  dates  from  1864.  There  are  three  panels  of 
marble.  The  central  one  represents  the  Crucifixion  with  a group  of 
four  figures  at  the  foot  of  the  cross.  The  panel  on  the  right  indicates 
Christ  bearing  his  cross,  and  the  one  on  the  left  has  our  Lord  sup- 
ported on  the  knees  of  St.  Mary.  The  Reredos  was  erected  at  the 
time  of  the  restoration  of  the  Chapel  by  Mr.  Street.  The  builder' was 
Mr.  Wyatt  of  Oxford.  The  whole  cost  of  the  restoration  was  about 

£ 1 5oo- 


By  permission  of  Henry  W.  Taunt  & Co.,  Oxford. 

ALTAR  AND  REREDOS  IN  CHAPEL  OF  JESUS  COLLEGE,  OXFORD 


By  permission  of  Henry  W.  Taunt  & Co.,  Oxford. 

ALTAR  AND  SCREEN  IN  THE  CHAPEL  OF  ALL  SOULS’  COLLEGE,  OXFORD 


CHAPEL  OF  ALL  SOULS’  COLLEGE 


1 33 


CHAPEL  OF  ALL  SOULS’  COLLEGE,  OXFORD 

The  Reredos  dates  from  the  foundation  of  the  College  about  the 
year  1438.  The  chapel  and  its  adornments  were  greatly  mutilated 
during  the  Reformation  by  the  Puritans.  A wall  of  mortar  was  built 
across  the  rear  of  the  Altar,  completely  covering  up  the  canopied  figures. 
Streeter,  the  court  painter  of  Charles  II,  painted  a fresco  of  the  Last 
Judgment  on  this  wall.  It  was  not  pleasing  to  all,  for  Evelyn  thought 
it  “too  full  of  nakeds,  fora  chapel.”  About  1770  this  fresco  was  re- 
placed by  one  by  Sir  J.  Thornhill  representing  the  apotheosis  of  Arch- 
bishop Chichele,  the  founder  of  the  College.  Mr.  C.  Grant  Robertson 
writes  : “ The  Chapel,  in  short,  took  the  form  it  was  to  wear  for  two 
centuries,  and  it  is  almost  pathetic  to  observe  how  effectually  these 
changes  obliterated  the  memory  of  its  original  appearance.  All  Souls’ 
literally  forgot  that  it  once  had  a Reredos  and  a hammer  beam  roof, 
and  De  Wenman,  writing  at  the  end  of  the  eighteenth  century,  does  not, 
for  all  his  erudition,  betray  the  faintest  glimmer  of  a suspicion  as  to 
what  lay  behind  the  lath  and  the  plaster  of  1665.”1  In  1872  the  fif- 
teenth-century roof  came  to  light  and  then  the  sculptured  treasures 
behind  the  plastered  wall.  In  1878-79  the  Chapel  was  completely  re- 
stored at  an  expense  of  over  ^10,000.  Mr.  Robertson,  in  speaking 
of  the  original  condition  of  things,  says,  “ The  High  Altar  was  adorned 
with  the  image  of  the  Holy  Trinity  gilt  and  painted,  and  in  the 
space  over  the  Altar  was  placed  a representation  of  the  Crucifixion, 
while  at  the  summit  of  the  Reredos  immediately  under  the  roof  was 
the  figure  of  our  Lord  seated  in  judgment  surrounded  by  archangels 
and  marked  with  the  inscription,  ‘ Surgite  mortui,  venite  ad  Judi- 
cium.’ ”2  The  structure  is  built  of  Bath  freestone.  At  the  restoration 
the  sculptor  Geflowski  introduced  the  features  of  some  of  the  modern 
Fellows  of  the  College.  Thus  on  the  right  of  the  crucifix,  between 
Archbishop  Warham  and  Bishop  Gold  well,  he  has  depicted  Lord  Salis- 
bury as  John  of  Gaunt. 


1 All  Souls'  College , pp.  139,  140. 


2 Ibid.,  pp.  14,  15. 


134 


SOME  NOTABLE  ALTARS 


CHAPEL  OF  MAGDALEN  COLLEGE,  OXFORD 

The  Rev.  Frank  E.  Brightman,  M.A.,  a Fellow  of  Magdalen, 
writes : — 

“ The  arrangement  of  the  Screen  behind  the  Altar  which  is  the 
same  type  as  that  of  New  College  and  All  Souls’  is  probably  on  the 
lines  of  the  original  Screen  of  about  1475,  which  was  defaced  in  1549. 
The  present  restoration  was  made  in  1829  to  1834,  except  in  regard  to 
the  statues,  which  were  not  added  until  1884,  though  they  were  in- 
cluded in  the  architect  L.  N.  Cottingham’s  plans  of  1829.  The  statues 
in  the  niches  are  all  Old  Testament  personages  with  the  exception  of 
one,  that  of  St.John  the  Baptist.  In  the  centre  of  the  top  story  is  the 
‘ Noli  me  tangere.’  The  picture  over  the  Altar  is  our  Lord  bearing 
the  Cross,  by  Ribalta.  It  was  taken  from  a Spanish  ship  at  Vigo  in 
1702,  brought  to  England  by  the  Duke  of  Ormond,  and  presented  to 
the  College  in  1745,  by  one  W.  Freman,  an  undergraduate  of  the 
College  in  1719.  It  was  placed  in  the  centre  of  the  present  Screen 
in  1758,  and  so  remained  until  the  restoration,  when  it  was  set  in  the 
stone  work  that  now  surrounds  it.  The  Altar  is  of  stone  and  is  part 
of  the  restoration  of  1829.” 


By  permission  of  Henry  W.  Taunt  &:  Co.,  Oxford. 

ALTAR  AND  SCREEN  IN  THE  CHAPEL  OF  MAGDALEN  COLLEGE,  OXFORD 


• ■ 


. 


altar  and  screen  in  the  chapel  of  new  college,  oxford 


CHAPEL  OF  NEW  COLLEGE 


i39 


CHAPEL  OF  NEW  COLLEGE,  OXFORD 

The  Screen  represents  generally  the  Orders  enumerated  in  the 
Te  Deum.  In  the  highest  row  we  have  the  Agnus  Dei  accompanied 
by  Angels.  In  the  second  row  a representation  of  the  Crucifixion 
has  six  Apostles  on  the  right  and  left.  The  third  row  has  the  Virgin 
and  Child  in  the  centre  with  King  Richard  II,  St.  Stephen,  St.  Cecilia, 
St.  George,  St.  Catherine,  and  St.  Alban  on  the  north  side,  and 
William  of  Wykeham,  St.  Augustine,  Bede,  St.  Anselm,  Warham,  and 
Ken  on  the  south  side.  The  fourth  row  contains  Moses  holding 
the  Tables  of  the  Law,  with  the  four  greater  prophets,  Isaiah,  Jere- 
miah, Ezekiel,  and  Daniel  in  the  centre  and  Samuel,  David,  Elijah, 
and  St.  John  the  Baptist  on  the  north  side  and  St.  Paul,  St.  Jerome, 
St.  Chrysostom,  and  St.  Ambrose  on  the  south  side.  The  design  of 
the  niches  is  supposed  to  be  of  William  of  Wykeham’s  time,  that  is 
of  1379.  The  statues  that  stood  in  them  were  removed  and  broken  up 
in  the  reign  of  Edward  VI,  and  the  niches  were  filled  up  in  accordance 
with  an  injunction  of  Robert  Horn,  Bishop  of  Winchester  in  1567. 
Later  in  1789  the  Reredos  was  restored  in  plaster.  The  niches  were 
replaced  in  stone  in  1879  under  Sir  George  Gilbert  Scott,  and  the 
statues  were  restored  in  1890-92  under  Mr.  J.  Pearson.  The  con- 
tractors for  the  work  were  Farmer  and  Brindley  of  London,  and 
N.  Hitch,  an  English  workman,  executed  the  statues.  The  entire 
restoration  was  made  possible  through  the  gifts  of  members  of  the 
College. 


140 


SOME  NOTABLE  ALTARS 


CHAPEL  OF  WINCHESTER  COLLEGE 

The  original  stone  Reredos  dates  from  the  building  of  the  College 
from  1387  to  1393.  In  later  years  its  suffered  from  changes  and 
mutilations.  There  are  still  traces  of  original  painting,  but  not 
enough  to  form  a design  or  pattern.  Sir  W.  Earl  restored  the 
Reredos  in  1866.  The  figures,  also  of  stone,  were  erected  in  1876, 
by  the  Master  of  the  College.  The  statues  represent  St.  Peter,  St. 
John,  St.  James,  St.  Stephen,  St.  Paul,  St.  Augustine,  William  of 
Wykeham,  Alfred  the  Great,  and  others.  There  is  no  record  of  the 
first  cost  of  the  Reredos,  or  of  its  restoration,  but  the  stone  figures 
were  erected  at  an  expense  of  £2^  each. 


y permission  of  H.  W.  Salmon,  Winchester. 


/ 


ALTAR  AND  REREDOS  IN  ST.  JOHN’S  COLLEGE,  HURSTPIERPONT 


ST.  JOHN’S  COLLEGE 


i45 


ST.  JOHN’S  COLLEGE,  HURSTPIERPONT 

The  story  of  the  building  of  the  Altar  and  Reredos  is  admirably 
told  in  the  Hurst  Johnian  Magazine.  After  speaking  of  the  starting 
of  a special  fund  in  1865,  this  publication  proceeds  to  say:  — 

“Seven  years  passed,  and  Christmas,  1872,  saw  the  work  finished,  a 
tribute  to  the  honor  of  God,  the  beauty  of  which  is  hardly  to  be  matched 
in  England.  With  the  exception  of  the  centre  sculpture,  given  by 
one  since  gone  to  his  rest,  all  this  was  done  by  no  large  subscriptions, 
but  by  the  patient  ingathering  of  small  sums,  gifts,  and  thank-offerings, 
savings,  profits,  and  earnings,  in  wonderful  variety.  The  secret  of 
success  was  the  determination  to  go  on  with  the  work  step  by  step,  as 
money  was  forthcoming.  The  Rev.  Lewin  Pennell  gave  the  crowning 
ornament  of  all,  — ‘a  Pelican  in  her  piety,’  the  ancient  emblem  of 
him  whose  Body  was  torn,  and  whose  Blood  was  poured  out  on 
the  Cross  for  his  people. 

“ The  four  figures  below  were  added  in  memory  of  the  Rev.  John 
Gorham,  by  the  many  friends  who  mourned  his  loss  in  1866,  and  thus, 
gradually,  memories  and  associations  came  to  add  interest  to  the 
work.  Bishop  Gilbert  was  moved  to  tears,  as  he  ministered  at  the 
Altar,  by  the  pathetic  beauty  of  the  Virgin  Mother’s  sculptured  form, 
standing  by  the  Cross  of  Jesus.  John  Keble  helped  with  advice  and 
money.  William  Campion  of  Danny  and  many  other  friends  since 
fallen  asleep  lent  their  aid.  The  three  chief  groups  of  sculpture 
represent  the  ‘Agony  in  the  Garden,’  the  ‘ Crucifixion,’  and  the 
‘ Burial  of  our  Lord.’  The  base  of  these  three  sculptures  is  raised 
one  foot  nine  inches  above  the  top  of  the  Super-Altar ; the  height  and 
width  of  the  central  one  are  respectively  ten  feet  and  seven  feet ; and 
of  the  side  compartments,  nine  feet  and  five  feet  six  inches.  The 
figures  are  a little  under  life  size. 

“ Each  of  the  three  groups  of  sculpture  stands  in  an  arched  and 
canopied  recess,  the  arches  being  supported  on  piers  of  stone  and 
clustered  marble  columns,  and  flanked  by  lofty  pinnacles.  The  space 
below  the  central  sculpture  is  of  course  filled  by  the  Altar,  but  under- 
neath the  compartments  on  either  side  are  four  arched  and  canopied 


146 


SOME  NOTABLE  ALTARS 


niches,  and  the  side  pinnacles  are  continued  downward  as  columns  to 
the  footpace,  on  which  the  Altar  stands.  Immediately  above  the 
Super- Altar,  and  below  the  base  of  the  sculpture,  runs  a richly 
moulded  cornice  of  varied  alabaster,  ornamented  with  semi-balls  of 
sienna,  Irish  green  jasper,  and  Blue  John  spar.  On  this  rests  the  base 
of  the  piers,  supporting  the  columns  and  pinnacles.  These  piers  con- 
sist of  a centre  of  moulded  Caen  stone,  in  front  of  which  are  four 
detached  columns,  supporting  the  canopies  and  pinnacle  above,  and 
on  each  side  are  two  pillars,  from  the  capitals  of  which  spring  the 
arches  of  the  great  canopies  over  the  sculptures.  These  columns  are 
of  Cat  Down  spar,  Galway-green  marble,  and  alabaster;  they  have 
moulded  bases  of  alabaster,  and  are  tied  together  by  annulets,  also  of 
alabaster.  The  capitals  are  of  Caen  stone,  carved  and  ornamented 
with  bosses  of  red  and  green  marble,  with  alabaster  neckings.  The 
height  from  the  cornice  above  the  Altar  to  the  top  of  the  caps  is  five 
feet  six  inches,  the  total  height  from  the  floor  to  the  top  of  the  centre 
finial  being  twenty  feet.  The  main  arch  over  the  central  group  of 
sculpture  rises  above  five  feet,  and  is  of  richly  moulded  Caen  stone  ; and 
below  it  is  a subordinate  trefoil  cusped  arch,  also  of  moulded  stone. 
The  circles  and  spandrels  between  these  two  arches  are  filled  in  with 
marble  mosaics.  In  the  circles  are  the  Alpha  and  Omega,  in  white 
alabaster,  on  a ground  of  emperor’s  red  marble  ; and  the  mosaics  in  the 
spandrels  are  in  patterns  of  contrasted  marbles  on  a dark  green  ground. 

“ The  triangular  spandrels  above  the  great  main  arch,  and  the 
pediment  mouldings,  are  inlaid  with  a ground  of  varied  and  polished 
alabaster;  immediately  above  the  point  of  the  circle  is  a quatrefoil- 
shaped  panel  of  moulded  Caen  stone,  inlaid  with  agate.  Touching 
the  four  points  of  the  quatrefoil  is  a moulded  cross  of  pure  white 
alabaster,  one  foot  high,  the  centre  being  formed  by  a faceted  circle 
of  green  marble  ; the  spaces  between  the  arms  of  the  Cross  and  the 
mouldings  of  the  quatrefoil  are  filled  with  bosses  of  Pyrenean  jasper 
on  a green  marble  ground.  The  great  spandrel  is  also  ornamented 
with  inlays  and  bosses  of  sienna,  green  marbles,  and  Blue  John  spar. 

“ The  mouldings  of  the  pediment  are  of  Caen  stone ; on  the  upper 
side  are  richly  carved  crockets  and  bases,  on  which  stand  the  four 


ST.  JOHN’S  COLLEGE 


147 


Evangelists,  two  on  either  side.  On  the  south  side,  St.  Matthew  and 
St.  Mark,  and  on  the  north  side,  St.  John  and  St.  Luke.  The  mould- 
ings terminate  at  the  top  in  a carved  and  moulded  finial,  resting  on 
which  is  the  pelican  shedding  its  blood  to  feed  its  young.  Supported 
on  the  capitals  of  the  previously  described  four  detached  and  project- 
ing columns,  are  the  bases  of  the  niches,  and  the  pinnacles  above. 
The  canopies  of  the  niches  are  formed  by  moulded  arches,  resting  on 
columns  of  Brocatella  marble,  with  bases  and  caps  of  Caen  stone. 
There  are  three  figures  in  each  of  these  four  niches ; the  twelve  fig- 
ures being  probably  as  follows,  commencing  at  the  north  side : St. 
Jude,  St.  Philip,  St.  Matthias,  St.  Thomas,  St.  Peter,  St.  Barnabas, 
St.  James,  St.  Paul,  St.  Andrew,  St.  Bartholomew,  St.  Simon,  St. 
James  the  Less.  St.  Matthew  and  St.  John  are  omitted,  as  occupying 
a place  in  their  character  of  Evangelists.  These  figures  are  about  one 
foot  eight  inches  high. 

“ The  moulded  pediments  of  the  niche  canopies  are  ornamented 
with  carved  crockets  and  finials,  into  which  are  introduced  bosses  of 
green  marble  and  alabaster.  The  spandrels  above  the  arches  are 
filled  with  marble  mosaics  on  an  alabaster  ground.  Resting  on  these 
canopies  is  the  cylindrical  base  of  the  pinnacle,  on  which  are  eight 
columns  of  jasper,  sienna,  green,  and  red  marbles,  surrounding  a stone 
centre,  with  carved  caps,  supporting  a moulded  and  carved  cornice, 
ornamented  with  bosses  of  sienna  marble.  The  top  of  the  pinnacle 
is  circular,  and  inlaid  with  bends  and  patterns  of  dark  alabaster,  and 
terminates  in  a richly  carved  stone  finial.  As  before  mentioned, 
there  are  on  each  side  of  the  Altar,  below  the  great  side  groups  of 
sculpture,  four  recessed  niches;  these  are  formed  by  moulded  and 
cusped  arches  of  alabaster,  supported  on  shafts  of  colored  marbles, 
with  bases  and  capitals  of  alabaster.  These  bases  rest  on  a moulded 
plinth  of  red  Mansfield  stone,  which  also  forms  the  plinth  of  the  whole 
composition.  The  arches  of  the  niches  are  surmounted  by  crocheted 
pediments  of  alabaster,  the  finials  and  crockets  of  which  are  orna- 
mented with  bosses  of  marble.  The  spandrels  of  the  arches  are  filled 
with  marble  mosaics.  The  alabaster  moulded  cornice  over  the  altar  is 
continued,  and  is  intersected,  by  these  pediments.  The  projecting 


148 


SOME  NOTABLE  ALTARS 


flank  pinnacles  are  supported  on  shafts  of  polished  granite,  with  ala- 
baster caps  and  bases.  In  these  niches  stand  Caen  stone  figures  of 
the  eight  Doctors  of  the  Eastern  and  Western  Church.  The  first  on 
the  north  side  is  St.  Gregory,  W.,  St.  Basil,  E.,  St.  Jerome,  W.,  St. 
Athanasius,  E.  The  first  on  the  south  side,  next  the  Altar,  comes 
St.  Ambrose,  W.,  St.  Chrysostom,  E.,  St.  Augustine,  W.,  and  St. 
Gregory  Nazianzen,  E.  These  have  all  been  special  gifts,  and  have 
cost  sixteen  guineas  each.  The  centre  sculpture  contains  nine  large 
figures,  besides  two  smaller  figures  of  angels.  Our  Saviour  hangs 
dead  on  the  Cross,  his  arms  wide  stretched,  his  head  bowed  towards  the 
right,  on  which  side  is  a group  of  the  Holy  Women;  Salome,  mother 
of  St.  John,  and  St.  Mary,  the  wife  of  Cleophas,  supporting  the  almost 
fainting  form  of  the  blessed  Virgin,  and  St.  Mary  Magdalene  kneeling 
in  loving  humility,  embracing  the  feet  of  Christ ; beside  her,  that  ala- 
baster box  of  ointment  wherewith  she  ‘ did  what  she  could.’  On  the 
other  side  is  the  Centurion,  who  was  the  first  to  make  confession  of  the 
Godhead  of  the  Crucified,  also  kneeling ; and  behind  him  stand  St. 
Joseph  of  Arimathaea,  Nicodemus,  and  St.  John,  the  beloved  disciple. 

“ The  sculpture  on  the  north  side  represents  the  Agony;  St.  John 
sleeps  in  the  foreground,  his  head  resting  on  his  hand  ; whilst  further 
back  our  Saviour  kneels,  as  in  that  mysterious  hour  of  woe,  one  angel 
reverently  supporting  Him,  and  others  of  the  Heavenly  hosts  look- 
ing on,  with  folded  hands,  in  wonder.  Beneath  a great  stone  a serpent 
lies  crushed  — emblem  of  him  who  first,  in  a garden,  won  victory,  and 
again,  in  a garden,  was  bruised  and  vanquished  by  a Stronger  than  he. 

“ The  sculpture  on  the  south  side  represents  the  Entombment,  in 
which  St.  John,  and  St.  Joseph  of  Arimathaea,  and  another,  tenderly 
lay  the  dead  Body  of  our  Lord  in  the  Tomb,  while  the  women  stand 
or  kneel  in  various  attitudes  of  grief. 

“All  these  sculptures  were  executed  by  Mr.  Forsyth,  of  London; 
the  canopies  by  Messrs.  Poole,  of  London,  and  Allen,  of  Leicester. 
The  whole  has  cost  about  ^2000. 

“ The  Super-Altar  is  white  Carrara  marble,  and  has  stones  inlaid  in 
various  designs  ; the  stones  include  agate,  jasper,  cornelian,  crystal, 
malachite,  amber,  pink  coral,  bloodstone,  etc.” 


ALTAR  AND  REREDOS  IN  THE  CHAPEL  OF  CHELTENHAM  COLLEGE 


CHAPEL  OF  CHELTENHAM  COLLEGE 


i5 1 


CHAPEL  OF  CHELTENHAM  COLLEGE 

“ In  Memory  of  old  Cheltonians  who  fell  in  the  South  African  War 
of  1899-1902”  is  the  inscription  upon  the  Cheltenham  Reredos. 
This  is  indicative  of  the  patriotic  spirit  that  stimulated  the  erection  of 
this  artistic  production.  The  Reredos  has  been  rightly  described  as 
“ a great  work,  a worthy  memorial,  an  inspiring  history  in  stone.” 
The  architect  and  builders  are  residents  of  Cheltenham ; the  former 
Mr.  H.  A.  Prothero,  and  the  latter  R.  L.  Boulton  and  Sons.  The 
material  used  is  clunch  from  Cambridgeshire.  The  cost  reached 
£H59- 

The  central  compartment  represents  Christ  on  the  cross,  not  in 
agony,  but  with  a face  full  of  tenderness  and  hope  as  he  looks  out 
over  a world  he  has  redeemed.  On  either  side  of  his  head  is  an  ador- 
ing angel  and  below  are  St.  Mary  and  St.  John.  The  large  figures 
about  the  cross  in  niches  represent  prominent  characters  associated 
with  the  history  of  England.  On  the  Gospel  side  in  the  upper  row 
are  Becket  and  Langton.  In  the  lower  niches  are  Dunstan  and 
Anselm.  On  the  Epistle  side  in  the  upper  niches  are  Bede  and 
Cranmer,  and  in  the  lower  Wycliffe  and  Tyndale.  Below  the  cross  in 
a small  grouping  is  the  Adoration  of  the  Magi,  and  on  one  side  are  the 
archangels,  Michael,  Gabriel,  Raphael,  and  Uriel,  and  on  the  other  side 
are  the  saints,  David,  Patrick,  Andrew,  and  George.  Returning  to  the 
larger  statues,  those  on  the  upper  row,  on  the  Epistle  side,  are  Wesley, 
Rakes,  and  Howard,  and  those  in  the  lower  niches,  Keble,  Colet,  and 
Wilberforce.  The  symbols  below  the  pedestals  represent  Fortitude, 
Truth,  and  Justice.  The  three  large  statues  on  the  Gospel  side  are  St. 
Alban,  King  Arthur,  and  King  Edmund,  and  below  are  Columba, 
Augustine,  and  Aidan.  The  symbols  below  the  feet  are  Faith,  Hope, 
and  Charity.  The  large  figures  are  each  four  feet  high,  and  appear  in 
the  costume  of  their  time.  The  small  figures,  two  feet  high,  are  ar- 
ranged in  the  four  buttresses.  Beginning  on  the  left  we  have  in  art 
and  science  Chantrey,  Reynolds,  Wren,  Handel,  Claxton,  and  Newton. 
In  the  second  buttress,  administration,  education,  and  leadership  are 


SOME  NOTABLE  ALTARS 


i52 

indicated  by  Lawrence,  Simon  of  Montfort,  Arnold,  Wykeham, 
Gordon,  and  King  Alfred.  In  the  third  buttress,  representative  of 
literature,  learning,  and  leisure,  are  Shakespeare,  Milton,  Bunyan,  Scott, 
Butler,  and  Walton.  The  fourth  and  last  buttress  illustrates  various 
professions,  as  suggested  in  the  statues  of  Herbert,  Livingstone,  More, 
Jenner,  Gresham,  and  Sir  John  Franklin. 

The  grouping  of  all  the  figures  is  most  historic  and  instructive  as 
representing  the  place  and  power  of  Great  Britain  in  the  world. 
These  ideas  are  accentuated  in  the  statues  first,  of  founders  and  cham- 
pions ; second,  in  the  builders  up  of  Church  and  State ; third,  the 
promoters  of  the  National  Bible  and  Prayer  Book ; and  fourth,  the 
leaders  of  great  movements  in  the  spiritual,  intellectual,  and  social 
world.  Such  a splendid  array  of  human  endeavor  should  be  an  in- 
spiration to  the  youth  of  England.  The  floral  ornamentation  of  the 
Reredos  throughout  is  rendered  highly  symbolical  by  the  graceful  use 
of  the  emblems  of  the  rose,  thistle,  shamrock,  leek,  oak,  and  vine.  As 
a whole  the  Reredos  is  regarded  as  one  of  the  most  beautiful  examples 
of  perpendicular  Gothic  in  modern  times. 


ALTAR  AND  REREDOS  IN  ST.  GEORGE’S  CHAPEL,  WINDSOR 


ST.  GEORGE’S  CHAPEL 


155 


ST.  GEORGE’S  CHAPEL,  WINDSOR 

The  Reredos  constructed  of  alabaster  was  erected  in  the  years 
1862-63.  It  was  provided  by  the  Dean  and  Chapter  at  a cost  of 
^1200.  It  was  executed  by  an  ecclesiastical  sculptor  named  Philip 
from  designs  by  Sir  George  Gilbert  Scott.  It  was  completed  in  time 
for  the  marriage  of  the  present  King  Edward  VII  in  March,  1863. 
The  central  subject  represents  the  eleven  disciples  offering  their 
adorations  to  the  resurrected  Lord.  In  one  of  the  side  panels  Christ 
is  instructing  a group  of  his  disciples  and  in  the  other  he  is  appear- 
ing to  St.  Mary.  These  three  panels  are  made  in  white  marble.  The 
panels  on  either  side  of  the  Reredos  with  the  angel  heads  were  added 
later,  as  also  the  rich  canopy  with  its  row  of  statues.  At  either  end 
is  the  figure  of  St.  George  and  the  Dragon.  These  additions  were 
put  up  in  1867  as  a memorial  to  the  Prince  Consort. 


SOME  NOTABLE  ALTARS 


156 


ST.  MATTHEW'S  CHURCH,  NORTHAMPTON 

The  Parish  Souvenir  for  1902  contains  the  following  account:  — 

“ Raised  upon  a marble  foot-piece,  eight  steps  from  the  nave  floor, 
and  placed  some  distance  from  the  east  wall  of  the  apse,  is  the  Altar, 
composed  chiefly  of  wood,  but  with  an  alabaster  front,  which  is  di- 
vided into  three  main  compartments,  surrounded  with  moulded  fram- 
ing; and  the  compartments,  of  which  the  centre  is  the  widest, 
are  treated  in  sunk  and  moulded  panel-work  and  tracery,  beneath 
which  are  figure  subjects  in  sculptured  relief  as  follows:  In  the  centre 
is  the  Feeding  of  the  Multitude,  in  which  Our  Lord  is  represented 
as  distributing  the  loaves  and  fishes  to  the  disciples,  and  the  disciples 
to  the  multitude.  The  men  are  seated  on  the  ground  according  to 
the  gospel  story,  while  the  women  and  children  are  seen  standing  on 
the  outskirts  of  the  throng.  Below  is  inscribed  the  appropriate  text 
— ‘If  I send  them  away  fasting,  they  will  faint  by  the  way.’  The 
compartments  on  each  side  have  typical  subjects  taken  from  the 
Old  Testament.  On  the  left  hand  is  shown  Melchizedek  giving  bread 
and  wine  to  the  patriarch  Abraham,  with  the  inscription,  ‘ A Priest  of 
the  Most  High  God.’  On  the  right  hand  is  shown  the  angel  appear- 
ing to  Elijah  under  the  juniper  tree,  with  the  inscription  — ‘Arise  and 
eat,  for  the  journey  is  too  great  for  thee.’ 

“ The  whole  of  the  sculptures  are  parcel  gilt,  and  the  backgrounds 
and  mouldings  are  in  gold  and  delicate  colors.  They  are  the  work  of 
Mr.  W.  Aumonier,  of  New  Inn  Yard,  Tottenham  Court  Road,  London. 

“ A Retable,  or  Gradine,  of  moulded  and  polished  alabaster  is  built 
up  from  the  floor  of  the  apse  at  some  clear  distance  east  of  the  Altar, 
and  from  it  rises  the  Reredos  to  a height  of  sixteen  feet.  The  general 
composition  is  an  arrangement  of  figure  subjects  in  tiers  and  under 
canopies,  with  gables  and  intervening  buttresses,  and  headed  work 
running  horizontally  in  the  lowest  stage.  The  central  compartment 
contains  the  Crucifixion,  with  St.  Mary  and  St.  John;  and  arranged 
on  either  side  are  two  tiers  of  saints  and  martyrs,  chosen  from  all 
ages  and  some  with  reference  to  Church  history  of  our  own  country. 
They  are:  St.  Stephen,  St.  Ignatius,  St.  Polycarp,  St.  Vincent,  St. 
Lawrence,  St.  Alban,  St.  George,  St.  Edmund,  St.  Giles,  St.  Co- 
lumba,  St.  David,  and  St.  Patrick.  Below  are  female  saints:  St.  Mary 
Magdalene,  St.  Lucy,  St.  Agnes,  St.  Margaret,  and  St.  Helena.” 


By  permission  of  Henry  W.  Taunt  & Co.,  Oxford. 


ALTAR  AND  REREDOS  IN  ST.  MATTHEW’S  CHURCH,  NORTHAMPTON 


ALTAR  AND  REREDOS  IN  BEVERLEY  MINSTER 


BEVERLEY  MINSTER 


1 6 1 


BEVERLEY  MINSTER 


In  the  York  Diocesan  Magazine  for  July,  1897,  there  appears  an 
account  of  the  restoration  of  the  Altar  Screen  of  Beverley  Minster 
from  the  pen  of  the  Rev.  Canon  Nolloth.  This  enters  so  decidedly 
into  all  the  details  of  the  work,  and  gives  such  an  exhaustive  descrip- 
tion of  the  various  statues,  that  it  is  by  permission  reprinted  in  full. 

“ The  Reredos  or  Altar  Screen  of  Beverley  Minster  has  just 
been  restored  by  the  Vicar  as  a memorial  to  his  father,  the  late 
Captain  H.  O.  Nolloth,  R.N.  It  was  erected  in  1826,  and  was  an 
exact  restoration  of  the  old  Screen  which  was  constructed  in  the 
reign  of  Henry  III  and  was  defaced  by  the  reforming  zeal  of 
the  Puritans  under  Cromwell.  The  design  contained  two  stages, 
each  divided  into  twenty-four  niches,  those  on  the  lower  com- 
partment having  crocheted  pediments,  while  the  niches  in  the  upper 
story  are  surmounted  by  beautiful  tabernacle  work,  and  on  the  top  is 
an  open  battlement.  The  whole  of  these  forty-eight  niches  and 
panels  have  been  filled  with  mosaics  and  statues,  the  former  by 
Messrs.  Powell,  and  the  latter  by  Mr.  N.  Hitch,  of  Vauxhall.  The 
work  has  been  exceedingly  well  designed  and  carried  out,  and  the 
effect  is  such  that  the  Altar  Screen  will  henceforth  be  one  of 
the  greatest  attractions  of  the  interior  of  the  Church.  In  the  base 
of  the  Screen,  below  the  two  statues  on  the  extreme  right,  the  fol- 
lowing inscription  has  been  incised  in  Gothic  letters : — 


ad  maj  : dei  glor  : Translated: — To  the  Glory  of  God 


ET  IN  MEMORIAM  DILECTISSIMAM 
HENRICI  OVENDEN  NOLLOTH, 

IN  CLASSE  REGALI  NUPER  PRAEFECTI, 
PONUNTUR  IN  HOC  PARIETE 
STATUAE  ET  MUSIVUM 
A.D.  MDCCCXCVII. 


and  to  the  beloved  memory  of 
Henry  Ovenden  Nolloth, 
late  Commander  in  the  Royal  Navy, 
the  Statues  and  Mosaics 
are  placed  in  this  Screen 
a.d.  1897. 


“ At  a short  service  held  in  the  Choir  of  the  Beverley  Minster, 
on  Tuesday  evening,  the  Vicar,  the  Rev.  Canon  Nolloth,  D.D.,  gave 
a description  of  the  work,  together  with  an  account  of  the  saints, 
kings,  and  ecclesiastics  commemorated  in  it  from  their  connection 


i62 


SOME  NOTABLE  ALTARS 


with  Beverley  and  the  north  of  England.  The  service  began  with 
the  hymn  ‘ Hark,  the  sound  of  Holy  Voices.’ 

“ The  Vicar  at  this  point  said:  — 

“ 4 The  completion  of  the  Reredos  or  Altar  Screen  was  chosen 
as  the  subject  of  this  memorial  to  one  the  last  years  of  whose  long 
and  happy  life  were  spent  here,  for  two  reasons:  First,  because  it 
obviously  appeared  to  be  the  work  needing  most  to  be  taken  in  hand 
in  the  interior  of  the  Minster  — the  one  object  in  this  Choir  unsur- 
passed in  beauty  by  any  in  Christendom,  which  seemed  bare  and 
unworthy,  and  yet  occupying  the  most  conspicuous  position  therein, 
the  very  focus  of  all  its  hallowed  associations ; and  secondly,  because 
of  the  danger  that  one  day  it  might  be  taken  in  hand  after  the  man- 
ner of  a design  which  I have  seen,  without  due  consideration  either 
of  the  historic  and  sacred  interest  which  might  be  thrown  into  it,  or 
of  the  paramount  importance  of  harmonizing  it  with  its  surroundings. 
In  saying  this  I am  not  unmindful  that  he  who  has  ventured  to 
attempt  this  task  may  possibly  be  held  by  not  a few  to  have  fallen  a 
victim  to  this  very  danger,  and  to  have  failed  in  his  high  aim.  For 
where  architectural,  antiquarian,  and  artistic  tastes  are  all  concerned, 
as  in  this  instance,  it  were  idle  to  imagine  that  all  will  approve.  The 
author  of  this  work  can  only  reply  that  matters  of  this  kind  have 
been  to  him  objects  of  deep  interest  and  study  and  much  travel  all 
his  life ; that  for  the  seventeen  years  of  his  sojourn  in  Beverley  this 
work  of  restoration  has  been  frequently  in  his  mind,  and  he  has  had 
from  time  to  time  the  opportunity  of  unfolding  his  views  to,  and 
having  them  approved  by,  many  persons  of  high  taste  and  culture. 

“‘The  Reredos  was  erected  about  the  year  1330,  some  eight  or 
ten  years  apparently  before  the  Percy  Shrine.  The  eastern  side  of 
it,  fronting  the  Chapel  of  St.  John  of  Beverley  (or,  as  it  is  now  com- 
monly but  erroneously  called,  the  “ Lady  Chapel  ”),  remains  very  much 
in  its  original  condition,  with  the  two  beautiful  niches,  “ waving  ” string 
course,  and  delicate  ornamentation  which  made  Rickman  declare  it  to 
be  “the  best  school  for  decorated  details  in  England.”  The  Screen 
was  intended  to  separate  the  Choir  with  its  constant  services  from 
interruption  by  the  stream  of  pilgrims  and  diseased  persons  visiting 


BEVERLEY  MINSTER 


163 


the  shrine  of  St.  John  of  Beverley,  who  was  described  by  Professor 
Bright  as  “an  object  of  greater  reverence  than  any  northern  saint, 
except  Cuthbert.”  The  gallery  on  the  top  of  it  would  probably  con- 
tain a diminutive  “ pair  of  organs,”  possibly  a Rood ; and  behind  the 
Rood  a cell  of  carved  woodwork  for  the  watcher  of  the  shrine.  The 
front  of  it  is  that  with  which  we  have  to  do.  At  the  dissolution  of 
the  society  of  St.  John,  in  1547,  or  probably  soon  after,  the  statuary 
was  broken  down,  and  the  rich  tabernacle-work  defaced.  Later  it 
was  covered  with  a coating  of  plaster,  on  which  the  Commandments, 
the  Lord’s  Prayer,  and  the  Apostles’  Creed  were  rudely  painted.  In 
the  beginning  of  the  last  century  a high  and  incongruous  Screen  of 
oak,  with  eight  Corinthian  columns  supporting  a triumphal  arch,  sur- 
mounted by  a gilded  eagle,  the  emblem  of  St.  John  the  Evangelist, 
was  erected  in  front  of  it.  About  1815  the  upper  part  of  this  Screen, 
which  was  so  high  as  to  block  out  the  view  of  nearly  the  whole  of  the 
east  window,  was  taken  down,  leaving  its  huge  pedestal.  Mr.  Comins, 
the  clever  master  mason  then  employed  at  the  Minster,  carefully  ex- 
amined the  mutilated  remains  of  the  ancient  Reredos,  took  casts  of 
the  ornaments  and  mouldings,  and  persuaded  the  trustees  that  it  was 
practicable  to  restore  it  in  all  its  details.  This  was  done,  and  com- 
pleted in  February,  1826.  Plenty  of  fragments  of  every  part  of  the 
original  work  remain  which  show  that  the  reproduction  was  most 
careful  and  exact. 

“ ‘ But  in  this  state  the  Screen  was  after  all  only  a series  of  twelve 
niches  without  the  statues,  and  thirty-six  frames  without  the  pictures. 
Its  abundant,  rich  carving  was  only  noticed  by  the  close  observer, 
and  its  effect  from  the  body  of  the  Choir  was  that  of  a stone  wall, 
relieved  only  by  a pierced  parapet.  The  problem  was,  how  best  to 
reproduce  the  combined  effect  of  statuary  with  gold  and  color  in  the 
original:  and  at  the  same  time  to  make  it  tell  something  of  the  his- 
tory of  the  kings  and  great  men  who  had  to  do  with  the  bringing  of 
Christianity  into  these  parts  in  the  days  of  old,  and  of  the  saints  of 
Holy  Writ. 

“‘In  the  centre  were  twelve  flat  panels,  showing  that  the  Twelve 
Apostles  were  represented  above  the  altar,  as  at  St.  Alban’s,  Bampton, 


164 


SOME  NOTABLE  ALTARS 


and  Bridlington  Priory.  On  either  side  were  six  niches  for  statues, 
which,  from  the  evidence  of  other  figures  and  carved  heads  which 
remain  here,  and  from  the  general  practice  of  mediaeval  sculpture  in 
this  country,  would  contain  statues  of  saints  and  worthies  of  more  or 
less  local  renown.  Over  the  whole  are  twenty-four  shorter  panels, 
twelve  narrow  and  twelve  wider.  The  Twelve  Apostles  have  there- 
fore been  replaced  in  the  centre  in  mosaic  by  Messrs.  Powell,  who 
have  executed  the  great  mosaic  work  at  St.  Paul’s  and  elsewhere,  and 
by  long  study  and  experiment  have  succeeded  in  producing  much  of 
the  effect  of  the  old  Italian  work.  The  vermilion  and  gold  diaper 
of  the  ground  is  a reproduction  of  the  ancient  pattern  which  was 
discovered  by  carefully  washing  a piece  of  the  old  stonework.  It 
corresponds  with  the  carved  rose  diaper  of  the  pilasters. 

“ ‘ The  twelve  statues,  six  on  either  side  of  the  Apostles,  were 
intrusted  to  Mr.  Hitch,  of  Vauxhall,  on  account  of  his  great  expe- 
rience of  such  work  under  Mr.  J.  L.  Pearson,  the  eminent  R.A.  and 
architect  of  Truro  Cathedral,  and  many  important  churches,  including 
Dalton  Holme  in  this  neighborhood.  Mr.  Hitch  had  executed  the 
figures  in  the  Altar  Screens  of  Truro  Cathedral  and  New  College 
Oxford,  and  figures  at  Peterborough  and  Lincoln  Cathedrals,  etc. 
Mr.  Pearson  has  most  carefully  superintended  the  execution  of  these 
figures,  Beverley  Minster  and  this  Screen  having  been  familiar  to 
him  from  youth.  F'ull-sized  clay  models  of  all  the  statues  were 
approved  by  him,  and  an  exact  model  of  the  niches  made  for  the 
purpose.  He  had  the  small  bases  on  which  the  figures  rest  modeled 
and  altered  three  if  not  four  times  over,  ideas  for  them  being  supplied 
by  drawings  of  bases  in  other  parts  of  the  Minster.  With  Mr.  Pearson’s 
full  approval  the  niches  have  been  lined  with  mosaic  of  the  same 
ancient  pattern.  This  has  the  twofold  advantage  of  throwing  the 
figures  into  bold  relief  and  securing  uniformity  of  tone  by  carrying 
the  effect  of  gold  and  color  over  the  whole  Screen.  I am  not  aware 
of  any  other  instance  of  this  treatment  in  England,  but  it  is  to  be  met 
with  in  Italy,  notably  in  a fine  example  at  Ravenna. 

Let  me  here  turn  aside  to  deal  with  one  or  two  criticisms.  It 
may  be  asked:  Does  not  the  second  Commandment  prohibit  “graven 


BEVERLEY  MINSTER 


165 

images”  ? Yes,  but  only  when  made  to  be  “ bowed  down  to  ” and  “ wor- 
shipped.” This  is  clear  from  the  words  which  follow,  “ nor  the  likeness 
of  anything  that  is  in  the  heaven  above,  or  in  the  earth  beneath,”  which 
would,  if  unlimited,  render  it  equally  wrong  to  take  a photographic 
likeness  of  your  nearest  relative.  In  the  Jewish  Tabernacle  itself, 
there  were  figures  of  cherubim  made  by  command  of  God  Himself: 
so  was  the  brazen  serpent.  But  when,  long  afterwards,  the  Israelites 
offered  incense  to  it,  Hezekiah  ground  it  to  powder.  The  same  abuse 
brought  the  same  fate  upon  the  statues  with  which  our  Cathedrals  and 
Minsters  were  adorned  three  centuries  ago ; and  we  can  scarcely 
blame,  though  we  may  deplore,  the  destructive  zeal  of  our  Puritan 
forefathers.’ 

“ The  Vicar  then  proceeded  to  deal  at  length  with  other  possible 
objections;  pointing  out  the  need  of  some  warmth  and  color,  and  the 
difficulty  of  introducing  it.  He  said  he  hoped  that  by  confining  it  to 
the  sunk  portions,  the  rich  carving  of  the  rest  of  the  Screen  would  be 
thrown  into  relief  as  it  never  was  before,  and  at  the  same  time  a disas- 
trous contrast  with  the  Percy  Shrine  would  be  avoided. 

“In  the  central  mosaics  each  Apostle  bears  his  emblem  — St. 
Peter  the  keys,  St.  Andrew  his  cross,  etc.  In  the  twelve  panels 
above  an  angel  displays  over  each  Apostle  a scroll  inscribed  with 
the  portion  of  the  Creed  traditionally  assigned  to  him.  In  the 
fifteenth-century  glass  preserved  in  the  upper  portion  of  the  east 
window,  Apostles  are  seen  bearing  the  scrolls  themselves. 

“ The  twelve  statues  represent : — 

“ 1.  King  Lucius.  The  register  of  Simon  Russell,  a valuable  manu- 
script of  the  date  1416,  commonly  known  as  the  ‘ Provost’s  Book,’  and 
now  happily  restored  to  the  Minster,  commences  with  the  statement 
that  Lucius,  son  of  Coil,  founded  the  Church  of  Beverley  in  the  year 
187.  As  the  story  of  Lucius,  and  his  foundation  of  churches  in  Lon- 
don, Gloucester,  and  elsewhere,  is  generally  regarded  as  apocryphal,  this 
apparent  sanction  of  it  has  been  condemned  by  some  critics.  But  as 
Archbishop  Usher  gives  a list  of  no  less  than  twenty-three  authorities 
who  mention  him,  and  as  the  story  was  current  in  both  the  Celtic  and 
Saxon  branches  of  the  Church  in  Britain,  there  seems  no  reason  to 


SOME  NOTABLE  ALTARS 


1 66 

doubt  that  there  was  a British  chief  of  that  name  who  became  Christian. 
Even  if  we  regard  him  as  purely  legendary,  it  seems  to  me  that  legend 
has  as  legitimate  a place  in  the  sculpture  of  a Gothic  Minster,  ‘a  poem 
in  stone,’  as  in  the  verse  of  Tennyson.  If  he  be  entirely  a myth,  then 
his  figure  as  the  founder  in  primitive  crown  and  armor,  and  bearing  the 
model  of  a very  early  Church  in  his  hand,  may  be  taken  as  the  em- 
bodiment of  a fact — that  the  foundation  of  this  venerable  sanctuary 
goes  back  beyond  the  historic  period  into  the  realm  of  legend. 

“ 2.  St.  Hilda,  Abbess  of  Whitby ; preceptress  of  St.  John  of 
Beverley. 

“3.  St.  John  of  Beverley,  born  at  Harpham-on-the-Wolds ; sent 
as  a boy  to  the  school  of  Canterbury,  taught  by  the  African  Hadrian, 
the  fellow-laborer  of  Archbishop  Theodore,  of  Tarsus.  From  Can- 
terbury John  passed  to  Whitby.  No  less  than  five  students  under 
Hilda,  this  mother  in  Israel,  became  Bishops  of  various  Sees.  On 
Sunday,  August  25,  687,  John  was  consecrated  Bishop  of  Hexham,  nine- 
teen years  after  he  was  translated  to  York.  He  was  a true  missionary 
Bishop,  a light  shining  in  a dark  place,  preaching  the  Gospel  from 
an  open  Bible,  as  portrayed  in  that  figure,  and  always  surrounded 
by  a little  band  of  scholars  whom  he  trained  for  evangelistic  work. 
His  skill  in  medicine,  which,  with  mathematics,  astronomy,  and  music, 
as  well  as  theology,  he  had  learned  in  the  school  at  Canterbury, 
enabled  him  to  perform  cures  which  in  those  simple  days  were 
thought  miraculous.  Most  of  us  remember  the  story  of  his  treatment 
of  the  deaf  and  dumb  youth.  In  the  year  718,  he  retired  to  Beverley, 
where  he  had  rebuilt  the  Church,  and  founded,  not  as  commonly 
reported,  a monastery,  as  that  term  is  now  understood,  but  a half 
parochial,  half  missionary  establishment,  to  be  a centre  of  light  and 
Christian  teaching  in  the  forest  of  Deira.  Three  years  later  he  died, 
and  was  buried  in  what  was  then  the  apse  of  St.  Peter,  now  the  east 
end  of  the  Nave. 

“4.  Brithunus,  disciple  of  St.  John,  and  first  Abbot  of  Beverley; 
buried  in  the  Minster  near  him.  The  ancient  sixth  bell,  formerly 
the  second,  cast  about  the  year  1366,  bears  this  inscription:  — 

“ ‘ Ista  secunda  tonat  ut  plus  Brithunus  ametur.’ 


BEVERLEY  MINSTER 


167 


“ 5.  The  Venerable  Bede,  disciple  and  biographer  of  St.  John  of 
Beverley,  by  whom  he  was  ordained  deacon  and  priest ; a learned  man 
of  science  and  historian.  He  finished  the  translation  of  the  gospels 
into  Anglo-Saxon,  which  St.  John  had  begun.  It  is  almost  impossible  to 
exaggerate  the  influence  which  he  exercised  upon  the  learning  of  the 
early  Middle  Ages.  No  less  remarkable  was  his  piety  and  humility. 
Time  would  fail  to  mention  the  beautiful  stories  treasured  in  his 
ecclesiastical  history.  Various  explanations  are  given  of  the  origin  of 
his  being  called  ‘ The  Venerable.'  (Two  of  these  were  related.)  The 
story  of  his  death  is  minutely  told  by  an  eye-witness.  It  occurred  on 
the  eve  of  Ascension  Day,  in  the  year  735.  Shortly  before,  he  had 
composed  an  antiphon  which  seems  to  have  been  the  original  of  our 
Collect  for  the  Sunday  after  Ascension  Day:  ‘ O King  of  Glory,  Lord 
of  might,  who  didst  on  this  day  triumphantly  ascend  far  above  the 
heavens,  we  beseech  Thee,  leave  us  not  comfortless,  but  send  to  us  the 
promise  of  the  Father,  even  the  Spirit  of  Truth,  Hallelujah.’ 

“ 6.  King  Athelstan ; bearing  in  one  hand  the  dagger,  which  he  left 
as  a pledge  on  the  Altar  here,  and  which  is  still  preserved  with  the 
remains  of  St.  John,  and  in  the  other  his  famous  charter  to  the  Church 
of  Beverley,  on  which  are  seen  the  words  ALS  FRE. 

“7.  Eborius,  first  recorded  Bishop  of  York,  314. 

“ 8.  St.  Gregory  the  Great.  In  the  west  window  of  the  south 
aisle  you  may  remember  how  he  is  displayed  walking  through  the 
slave  market  at  Rome,  and  struck  by  the  three  fair  children,  who  are 
said  to  have  been  sons  of  a Prince  of  Holderness,  a district  into  which 
our  parish  extends:  ‘Call  them  not  Angles,  but  Angels,’  he  said 
(non  Anglos,  sed  Angelos).  Asking  the  region  whence  they  were 
brought,  he  was  told  ‘ Deira.’  ‘ Then  will  we  deliver  them  from  the 
wrath  (de  ira)  of  God.’  He  never  forgot  his  vow,  and  when  he  became 
Bishop,  soon  sent  St.  Augustine  to  our  shores.  He  is  represented 
frequently,  as  in  this  figure,  with  a dove  whispering  into  his  ear:  The 

emblem  of  inspiration. 

“ 9.  St.  Augustine  of  Canterbury. 

“ 10.  St.  Alured  of  Beverley.  A great  historian.  ‘ The  English 
Florus.’  Born  at  Beverley,  1109;  Sacristan,  Canon,  and  Treasurer  of 


SOME  NOTABLE  ALTARS 


1 68 

the  Minster.  Afterwards  Abbot  of  Rievaulx.  One  of  the  Saints  of 
the  Cistercian  Order;  his  day  the  2d  of  March. 

“ 11.  Ethelberga,  a Christian  Princess  of  Kent,  married  to 

“ 12.  Eadwine,  King  of  Northumbria,  by  Paulinus,  625.  Edwin 
was  baptized  Easter  Eve,  627. 

“ Paulinus  appears  in  the  second  panel  of  the  upper  tier  of  mosaics. 
He  was  the  first  Saxon  Bishop  of  York,  627. 

“ Coifi,  the  last  High  Priest  of  Thor.  Converted  by  Paulinus  at 
Goodmanham,  he  was  the  first  to  cast  his  spear  at  the  old  sacred 
enclosure  of  the  Temple  and  trample  his  idols  under  foot.  Bede  has 
preserved  for  us  the  story  of  the  Northumbrian  thane,  who,  when 
Kingr  Edwin  at  this  same  Conference  at  Goodmanham  asked  his 

O 

council  to  decide  whether  the  missionary  Paulinus  should  be  heard, 
gave  his  voice  for  Christianity,  for  he  said  the  human  soul  seemed  to 
him  like  the  little  bird  which  fluttered  in  winter  into  a lighted  hall, 
and  then  out  again  into  darkness.  No  one  knew  whence  it  came,  and 
whither  it  went.  ‘ This  man  says  that  he  can  tell  us.  Let  us  hear 
him.’ 

“ Alchfrid,  King  of  Northumbria,  by  whom  St.  John  of  Beverley 
was  made  Bishop  of  Hexham. 

“St.  Wilfrid,  Bishop  of  York,  665. 

“St.  Chad,  Bishop  of  York,  and  afterwards  of  Lichfield,  reversing 
the  order  of  our  own  Diocesan. 

“Winwald,  disciple  of  St.John  of  Beverley,  and  second  Abbot, 
733.  Buried  in  the  Minster. 

“ Alcuin,  preceptor  of  Charlemagne,  Canon  and  Chancellor  of 
York : a link  between  Bede  and  the  learning  of  the  Middle  Ages. 

“ Kinsius,  Archbishop  of  York,  1051  ; he  built  a high  tower  to  the 
Church  of  Beverley,  and  placed  in  it  two  great  bells,  which  are  seen 
above  him,  while  he  holds  the  model  of  the  tower  in  his  hand. 

“St.  William  of  York,  Archbishop,  1144. 

“St.  Thomas  a Bccket,  Provost  of  Beverley,  1139;  Archbishop  of 
Canterbury,  1162;  murdered  in  Canterbury  Cathedral,  1178. 

“ At  either  end  of  this  row  is  placed  a subject  appropriate  to  him 
to  whose  memory  this  work  is  dedicated.  At  the  north  end  appears 


BEVERLEY  MINSTER 


169 


St.  Nicholas,  Bishop  of  Myra,  the  Patron  of  sailors,  said  to  have 
quelled  by  his  prayers  a violent  storm  in  the  Mediterranean  ; his  hand 
rests  upon  an  anchor.  In  almost  every  seaport,  and  near  many  a 
riverside,  as  at  Beverley,  was  to  be  found  once  a Church  bearing  his 
name.  The  south  end  closes  the  entire  series  with  the  old  ecclesias- 
tical emblem  — the  ‘ Navis,’  or  ‘ Ship  of  the  Church  ’ ; over  her  bulwark 
hangs  another  ancient  symbol,  an  anchor  enclosed  within  a circle, 
suggestive  of  eternal  hope.  Almost  from  the  time  when  a little  vessel, 
tossing  upon  the  Sea  of  Galilee,  bore  the  Redeemer  of  the  world  and 
the  twelve  Apostles,  we  find  this  symbol  in  ecclesiastical  imagery. 
‘ The  Church,’  says  an  old  father,  ‘ is  like  a ship,  bearing  over  the 
unquiet  sea  mariners  from  every  clime,  but  all  bound  for  one  haven.’ 
We  find  the  same  thought  in  Charles  Wesley’s  hymn  : — 

“ ‘ There  all  the  ship’s  company  meet, 

Who  sailed  with  the  Saviour  beneath.’  ” 


SOME  NOTABLE  ALTARS 


1 70 


CHRISTCHURCH  PRIORY,  HANTS 

This  is  an  ancient  stone  Reredos,  probably  earlier  than  the  fifteenth 
century.  It  is  arranged  into  three  tiers  with  five  compartments  in 
each,  the  central  one  wider  than  those  on  either  side.  The  Reredos  is 
carved  with  a representation  of  the  tree  of  Jesse.  The  Rev.  Thomas 
Perkins  writes:  “Above  the  Altar  in  the  central  compartment  Je^e 
lies  asleep ; on  the  left  hand  David  plays  upon  his  harp ; on  the  right 
sits  Solomon  deeply  meditating.  Above  Jesse  we  have  in  one  carving 
an  amalgamated  representation  of  the  birth  of  Christ  and  the  visit  of 
the  Wise  Men.  On  the  left  hand  sits  the  Virgin  Mary  with  her  Child, 
fully  clothed  in  a long  garment,  not  wrapped  in  swaddling  clothes, 
standing  in  her  lap.  Behind  her  stands  a man,  probably  Joseph,  and 
before  her  kneels  one  of  the  Wise  Men,  offering  his  gift  of  gold  in  the 
form  of  a plain  tankard.  On  the  right  behind  him  stand  his  two  fel- 
lows, one  carrying  a pot  of  myrrh,  the  other  a boat-shaped  vessel, 
probably  intended  for  a censer  containing  frankincense.  On  a bracket 
above  the  head  of  the  kneeling  Wise  Man,  the  shepherds  kneel  in  adora- 
tion ; nor  are  the  flocks  that  they  were  tending  forgotten,  for  several  sheep 
may  be  seen  on  a hilltop  above  their  heads.  Thirty-two  small  figures 
may  be  counted  in  niches  in  the  buttresses  dividing  the  compartments. 
Crockets,  finials,  and  pinnacles  decorate  the  various  canopies  over  the 
carvings.”  1 

1 Wimborne  Minster  and  Christchurch  Priory , pp.  112-113. 


By  permission  of  Rev.  Thomas  H.  Bush,  M.A. 

ALTAR  AND  SCREEN  IN  CHRISTCHURCH  PRIORY,  HANTS 


By  permission  of  Cyril  Ellis,  London. 

\)  REREOOS  IN'  THE  CHAPEL  OF  THE  CONVENT  OF  ST.  MARGARET,  EAST  GRINSTEAD 


TAR 


CHAPEL  OF  THE  CONVENT  OF  ST.  MARGARET  175 


CHAPEL  OF  THE  CONVENT  OF  ST.  MARGARET,  EAST 

GRINSTEAD 

Both  Altar  and  Reredos  are  built  of  beautifully  polished  material. 
The  Altar  is  built  of  alabaster  at  a cost  of  £ 1 50.  The  Reredos  is 
also  of  polished  alabaster  with  panels  containing  figures  in  marble. 
The  middle  one  represents  the  Crucifixion  of  our  Lord,  with  four 
others  of  scenes  in  Scripture  story.  The  Reredos  cost  $1000,  and 
with  the  Altar  was  built  by  Earp  and  Hobbs,  Lambeth,  London. 


SOME  NOTABLE  ALTARS 


1 76 


ST.  STEPHEN’S  CHURCH,  CLEWER 

The  Reredos  was  built  in  1875  by  Mr.  Woodyear,  and  the  decora- 
tions were  executed  by  Mr.  George  Ostrehan,  brother  of  the  Vicar. 
The  central  figure  is  that  of  Christ  holding  the  cross  in  his  right  hand 
and  an  orb  in  his  left.  The  highly  polished  material  and  the  graceful 
proportions  make  the  Reredos  very  effective.  The  Altar  is  constructed 
of  oak  with  mensa  of  stone.  On  the  front  are  representations  of  the 
nine  orders  of  angels,  finished  in  gold  and  color. 


By  permission  of  Cyril  Ellis,  London. 

ALTAR  AND  REREDOS  IN  THE  CHURCH  OF  ST.  STEPHEN,  CLEWER 


By  permission  of  Cyril  Ellis,  London. 

I.TAK  AND  REREDOS  IN  THE  CHURCH  OF  .ST.  MARGARET,  KING’S  LYNN 


ST.  MARGARET’S  CHURCH 


1 8 1 


ST.  MARGARET’S  CHURCH,  KING’S  LYNN 

The  Reredos  is  a fine  illustration  of  artistic  carving  in  wood.  It 
was  erected  at  a cost  of  ^iooo.  That  sum  was  left  for  the  purpose  by 
Miss  Blencome  of  Lynn.  The  material  used  is  carved  oak,  painted  and 
gilded.  The  design  was  made  by  Mr.  Bodley  and  executed  by  Mr. 
Bridgeman  of  Lichfield.  The  central  figure  is  that  of  Our  Blessed 
Lord.  On  his  right  hand  and  left  are  figures  of  St.  Jerome,  St.  Augus- 
tine, St.  Ambrose,  and  St.  Gregory. 


182 


SOME  NOTABLE  ALTARS 


CHURCH  OF  ST.  MARY  MAGDALENE,  ELMSTONE, 

CHELTENHAM 

In  the  issue  of  the  Gloucestershire  Chronicle  for  September  25,  1886, 
there  is  an  account  of  a thanksgiving  service  in  the  Church  of  St. 
Mary  Magdalene  on  the  festival  of  St.  Matthew.  It  reads : — 

“ The  main  feature  of  the  day  was,  however,  the  benediction  of  a 
new  Reredos,  erected  under  a faculty  issued  by  the  Chancellor  of  the 
Diocese,  and  by  the  munificence  of  two  parishioners  (the  Misses  Holt), 
at  a cost  of  £ 1 50.  The  Reredos  consists  of  three  principal  and  six 
subsidiary  compartments.  The  central  compartment,  which  is  projected 
somewhat  forward,  and  so  breaks  the  ordinarily  monotonous  straight 
line  which  is  characteristic  of  most  Reredoses,  springs  from  a base  on 
which,  in  the  midst  of  rich  diaper  work,  are  carved  the  sacred  letters 
‘ I.  H.  S.’  Above  this  base,  and  deeply  recessed,  is  a crucifix  in  bas- 
relief,  with,  at  its  foot,  figures  of  St.  Mary  and  St.  John,  also  in  bas- 
relief.  Above  is  a canopy,  surmounted  by  a spire  of  crocheting 
work,  terminating  in  a finial.  A similar  but  smaller  spire  surmounts 
the  other  two  principal  compartments,  — that  on  the  north  side 
being  occupied  by  an  image  of  the  Blessed  Virgin,  holding  the 
Divine  Child ; that  on  the  south  by  an  image  of  St.  George,  the  treat- 
ment of  which  is  strikingly  original  and  effective,  a sword  tak- 
ing the  place  of  the  conventional  spear,  and  the  convolutions  of 
the  dragon  exhibiting  great  vigor  of  treatment.  The  six 
subsidiary  compartments  are  occupied,  on  the  south  side  of  the 
central  compartment,  by  images  of  St.  Augustine  of  Hippo,  St.  Mary 
Magdalene,  the  patron  saint  of  the  Church,  and  St.  Ambrose ; on  the 
north  side  by  the  images  of  St.  Gregory,  St.  Alphege  of  Deerhurst 
(Elmstone  Church  being  an  offshoot  of  that  religious  house),  and  St. 
Jerome.  The  images  and  the  Crucifixion  group  are  of  Seaton  stone, 
the  pure  white  of  which  contrasts  most  effectively  with  the  deeper  tint 
of  the  fine  Corsham  stone  of  which  the  rest  of  the  Reredos  is  composed. 
Each  image  stands  upon  a carved  capital,  and  the  pillars  of  the  arcad- 
ing  are  of  red  Mansfield  stone.  The  general  line  of  the  top  of  the 


By  permission  of  Cyril  Ellis,  London. 

ALTAR  AND  REREDOS  IN  THE  CHURCH  OF  ST.  MARY  MAGDALENE,  ELMSTONE 


CHURCH  OF  ST.  MARY  MAGDALENE  185 

Reredos  consists  of  perforated  and  richly  carved  cresting.  The 
gradines  are  of  white  alabaster,  capped  with  Sicilian  marble,  and  ex- 
quisitely carved  with  passion  flowers,  ears  of  corn,  vine  leaves,  and 
grapes.  The  bases  of  the  two  extreme  compartments  are  richly 
diapered.  The  Altar  rails,  presented  by  the  churchwardens,  are  of 
alabaster,  combined  with  Seaton  stone,  and  supported  by  alabaster 
bases,  shafts,  and  capitals.  The  whole  was  designed  and  executed  by 
Mr.  A.  B.  Wall,  of  Cheltenham,  who  is  to  be  congratulated  upon  the 
completion  of  a Reredos  which  will  add  greatly  to  the  reputation 
which  he  already  enjoys,  not  merely  in  his  own  locality  but  through- 
out the  kingdom.  Independently  of  the  stately  beauty  of  the  design 
as  a whole,  the  Reredos  is  remarkable  for  the  unusual  excellency  of  its 
carving,  the  expression  and  pose  of  the  images,  and  a conscientious  care, 
even  in  the  most  minute  details,  which  deserves  the  highest  praise.” 


SOME  NOTABLE  ALTARS 


1 86 


CHRIST  CHURCH,  BRISTOL 

The  Church  of  St.  Ewen  stood  for  many  years  opposite  Christ 
Church,  but  in  1787  the  two  livings  were  consolidated.  St.  Ewen’s 
was  demolished  in  1820.  The  Reredos  was  constructed  of  stone  in 
1883.  The  central  panel  is  a representation  of  the  Crucifixion.  In 
a niche  on  the  right  is  a figure  of  St.  Ewen.  The  niche  on  the  left 
contains  a statue  of  St.  John  the  Baptist.  The  south  aisle  of  St. 
Ewen’s  was  dedicated  to  St.  John  the  Baptist  and  was  the  Chapel  of 
the  Merchant  Tailors’  Guild.  The  four  heads,  two  above  and  two 
near  the  ground,  in  the  Reredos  represent  four  Latin  Fathers.  Above 
are  reliefs  of  angels  with  censers.  The  Reredos  is  a memorial.  Tow- 
ard its  erection  Mrs.  Cole  and  the  Misses  Cole,  the  then  Rector’s 
mother  and  sisters,  gave  ^"ioo,  in  memory  of  Thomas  Bulman  Cole. 
The  entire  cost  of  the  Reredos  was  £ 180. 


ALTAR  AND  REREDOS  IN  CHRIST  CHURCH, 


By  permission  ot  uyril  J^liis,  JLonaon. 

BRISTOL 


ALTAR  AND  REREDOS  IN  ST.  PAUL’S  CHURCH,  CLIFTON,  BRISTOL 


ST.  PAUL’S  CHURCH 


191 


ST.  PAUL’S  CHURCH,  CLIFTON,  BRISTOL 

The  Reredos  is  built  of  teak  wood,  while  the  base  is  of  marble  and 
the  sides  of  alabaster.  The  three  pictures  represent  the  revival  of  an 
ancient  art.  A good  and  rich  glass  is  subjected  to  great  heat,  and  then 
it  is  painted  on.  Again  it  is  submitted  to  heat  with  the  result  that  the 
colors  are  burned  in  and  the  work  becomes  permanent.  It  is  an  im- 
provement on  the  old  mosaics,  inasmuch  as  the  human  face  and  form 
are  more  natural  and  graceful.  Messrs.  Powell  of  Whitefriars  designed 
and  executed  the  pictures,  and  Mr.  Henry  Hirst  of  Bristol  was  the 
architect.  The  central  panel  represents  the  glorified  Christ.  As  our 
great  High  Priest  he  is  represented  as  blessing  the  congregation. 
The  crucified  Lord  is  on  the  left,  and  the  Nativity  on  the  right.  The 
whole  design  of  the  Reredos  is  to  accentuate  the  doctrines  of  the 
Atonement  and  the  Incarnation.  The  Reredos  was  finished  in  Sep- 
tember, 1903,  and  with  the  other  decorations  of  the  sanctuary  was  the 
gift  of  Mr.  George  White,  of  Bristol,  commemorating  his  daughter’s 
marriage  in  the  Church.  The  cost  of  the  Reredos  was  ^1000,  while 
,£350  more  were  spent  on  the  adjacent  enrichments. 


192 


SOME  NOTABLE  ALTARS 


CHURCH  OF  ST.  MARY’S,  REDCLIFFE  BRISTOL 

The  Reredos  is  modern,  having  been  erected  in  1866-67.  It  was 
designed  by  Mr.  Godwin,  the  architect  of  the  Church.  All  except  the 
three  middle  panels  was  carved  by  Mr.  Rice.  The  whole  of  the  Altar 
and  Reredos  is  of  Caen  stone.  The  central  panel  is  Christ  blessing 
the  loaves  and  the  fishes.  The  panel  on  the  right  hand  represents 
the  distribution  of  the  loaves  and  the  one  on  the  left  the  distribution 
of  the  fishes.  These  three  panels  were  carved  in  London  out  of  very 
fine  Caen  stone.  The  cost  of  the  entire  work  was  about  ,£1000. 


By  permission  of  J.  W.  Lanson,  Bristol. 


ALTAR  AND  REREDOS  IN  THE  CHURCH  OF  ST.  MARY,  REDCLIFFE,  BRISTOL 


By  permission  of  Cyril  Ellis,  London. 

ALTAR  AND  REREDOS  IN  ST.  CHAD’S  CHURCH,  HAGGERSTON 


CHURCH  OF  ST.  CHAD 


197 


CHURCH  OF  ST.  CHAD,  HAGGERSTON 

The  Altar  is  of  massive  oak,  with  a stone  slab.  It  was  presented 
by  Mr.  J.  Scott  Chad,  of  Thurstone  Hall,  Norfolk.  The  Reredos  was 
erected  in  1889.  It  is  constructed  of  white  stone  inlaid  with  marble. 
The  architect  was  Mr.  Brooks  and  the  sculptor  was  Mr.  Earp,  of  Lam- 
beth. The  figures  in  the  centre  of  the  Reredos  represent  Our  Lord  on 
the  Cross,  while  at  his  feet  are  the  Blessed  Virgin  Mary  and  St.  John. 
On  the  right  hand  are  Joseph  of  Arimathea  and  the  Roman  Cen- 
turion. On  the  left  are  St.  Mary  Magdalene  and  St.  Mary,  wife  of 
Cleophas.  The  Reredos  was  the  gift  of  several  friends,  but  is  not  a 
memorial.  The  foundation  stone  of  St.  Chad’s  Church  was  laid  by  the 
late  Rt.  Rev.  Charles  T.  Quintard,  D.D.,  L.L.D.,  M.D.,  Bishop 
of  Tennessee,  on  Shrove  Tuesday,  February  25,  1868. 


198 


SOME  NOTABLE  ALTARS 


CHURCH  OF  ST.  MARY  THE  VIRGIN,  MARSH  GIBBON 

The  Altar  is  built  of  oak  and  was  erected  in  1880.  A carved 
stone  Reredos  reaching  the  length  of  the  Altar  was  added  in  1902. 
It  represents  the  institution  of  the  Holy  Communion.  Our  Lord  is 
standing  in  the  act  of  blessing  the  cup,  and  surrounded  by  the  Apostles. 
A border  of  vine  leaves  and  grapes  surrounds  the  whole.  At  the 
same  time  a painted  east  window  was  constructed.  The  Reredos  and 
window  were  dedicated  by  the  Lord  Bishop  of  Oxford  at  a special 
service  on  October  20,  1902.  The  cost  of  the  Reredos  and  window 
was  £ 1 70.  The  Reredos  was  executed  by  Earp  and  Hobbs  and  the 
window  by  Heaton,  Butler,  and  Bayne,  of  London. 


15y  permission  or  nenry  vv.  i aunt  tv  ^o.,  wxiora. 

ALTAR  AND  REREDOS  IN  THE  CHURCH  OF  ST.  MARY  THE  VIRGIN,  MARSH  GIBBON 


t 


MBHH 


altar  AND  REREDOS  in  ST.  PETER’S  CHAPEL  OF  BURFORD  CHURCH 


ST.  PETER’S  CHAPEL  OF  BURFORD  CHURCH  203 


ST.  PETER’S  CHAPEL  OF  BURFORD  CHURCH 

The  Reredos  is  an  antique  structure  dating  from  about  1490.  It 
is  built  of  stone  with  a canopy  of  wood.  A figure  of  Our  Blessed 
Lord  is  in  the  centre,  with  the  Virgin  Mary  on  his  right  hand  and  St. 
Dorothea,  virgin  and  martyr,  on  his  left.  These  were  the  Christian 
names  of  two  sisters  who  restored  the  Chapel  in  memory  of  a sister. 
The  topmost  figure  represents  St.  Peter,  which  was  found  under  the  floor 
of  the  nave  at  the  restoration  in  1872.  The  figures  were  carved  in 
London,  but  the  name  of  the  artist  is  unknown.  The  same  can  be  said 
of  the  original  builder.  The  architect  of  the  restoration  was  Mr.  G.  E. 
Street.  The  cost  of  this,  which  included  the  coloring  of  stone  and 
woodwork,  was  ,£74.10. 


204 


SOME  NOTABLE  ALTARS 


MINSTER  LOVELL,  WITNEY 

The  Reredos  is  of  white  stone,  and  was  erected  in  1876  in  memory 
of  Lady  Maria  Taunton.  It  consists  of  five  panels.  Starting  from 
the  left  we  have  the  Annunciation,  the  Nativity,  the  Crucifixion,  the 
Resurrection,  and  the  Ascension. 


ALTAR  AND  REREDOS  IN  MINSTER  LOVELL,  WITNEY 


By  permission  of  Mr.  W.  Adams,  \\  ltney. 

ALTAR  AND  REREDOS  IN  ST.  MARY’S  CHURCH,  WITNEY 


ST.  MARY’S  CHURCH 


209 


ST.  MARY’S  CHURCH,  WITNEY 

The  Reredos  is  of  stone  and  was  erected  in  1884.  The  statues 
are  of  alabaster,  delicately  accentuated  with  gold.  The  Saviour  is  rep- 
resented in  the  central  group,  with  an  angel  on  either  side.  The  other 
figures  placed  in  recesses  are  the  Blessed  Virgin  Mary,  St.  John,  St. 
Mary  Magdalene,  and  St.  Peter.  The  whole  symbolizes  the  doc- 
trine of  Our  Lord’s  Resurrection,  and  leads  up  to  the  further  scrip- 
tural truths  in  the  painted  window  above.  The  work  is  a memorial,  as 
indicated  by  the  following  inscription  : “To  the  glory  of  God,  and  in 
memory  of  Augustine  Batt,  M.D.,  son  of  Edward  Augustine  Batt, 
surgeon.”  The  Reredos  was  built  by  Clayton  and  Bell,  and  Mr. 
Nicholls  was  the  sculptor.  The  cost  was  between  ^300  and  ^400. 


2 10 


SOME  NOTABLE  ALTARS 


CHURCH  OF  ST.  JOHN  THE  BAPTIST,  CIRENCESTER 

The  Reredos  was  erected  in  1867,  and  later,  in  1889,  was  colored 
and  gilded.  The  architect  was  Sir  George  Gilbert  Scott,  and  the 
sculptor  was  G.  E.  Geflowski,  Brinton  Street,  London.  The  material 
used  is  stone.  The  central  panel  represents  the  Agony,  the  Cruci- 
fixion, and  the  Resurrection  of  our  Lord.  The  side  panels  to  the 
north  represent  the  Annunciation  and  the  preaching  of  St.  John  the 
Baptist.  Those  to  the  south  the  Nativity  of  Christ  and  his  Baptism. 
The  figures  in  the  niches  are  the  four  Evangelists  with  their  symbols. 


By  permission  of  Bailey  & \\  oods,  Cirencester. 

ALTAR  AND  REREDOS  IN  THE  CHURCH  OF  ST.  JOHN  THE  BAPTIST,  CIRENCESTER 


ALTAR  AND  REREDOS  IN  HOLY  TRINITY  CHURCH,  WATERMOOR 


HOLY  TRINITY  CHURCH 


215 


HOLY  TRINITY  CHURCH,  WATERMOOR 

The  Altar  was  erected  in  1851,  and  the  Reredos  in  1881.  Sculp- 
tured freestone  is  the  material  used,  with  columns  in  marble.  The 
central  panel  represents  Our  Lord  in  glory.  On  one  side  is  the 
Entombment  of  Christ,  and  on  the  other  the  Women  at  the  Tomb 
after  the  Resurrection.  The  sculptor  was  Mr.  Geflowsld,  and  the 
builder,  Mr.  Bridges,  of  Cirencester.  The  architect  was  Sir  George 
Gilbert  Scott.  The  work  was  subscribed  for  by  the  ladies  of  the 
parish. 


2l6 


SOME  NOTABLE  ALTARS 


CHURCH  OF  ST.  JOHN  THE  BAPTIST, 

SUMMERTOWN 

The  Reredos  was  erected  during  the  time  that  the  late  Arch- 
bishop of  Capetown  was  Vicar  of  the  parish.  The  material  used  is 
stone,  which  is  constructed  in  three  panels.  The  central  one  is  a 
representation  in  relief  of  the  Crucifixion.  On  one  side  of  the  figure 
on  the  Cross  stands  St.  Mary  the  Virgin,  and  on  the  other  side  St. 
John.  At  the  foot  of  the  Cross  is  the  figure  of  St.  Mary  Magdalene. 
The  two  side  panels  are  rich  in  mosaic  work. 


By  permission  of  Henry  W.  Taunt  & Co.,  Oxtord. 

ALTAR  AND  REREDOS  IN  CHURCH  OF  ST.  JOHN  THE  BAPTIST,  SUMMERTOWN 


ALTAR  AND  REREDOS  IN  ALL  SAINTS’  CHURCH,  EVESHAM 


ALL  SAINTS’  CHURCH,  EVESHAM 


22  1 


ALL  SAINTS’  CHURCH,  EVESHAM 

This  Church  was  built  by  the  monks  in  the  time  of  Edward  III, 
shortly  after  the  battle  of  Cressy,  in  memory  of  those  who  fell  ; hence 
the  name  of  the  Church.  It  was  connected  with  an  Abbey  founded  in 
701  by  the  Bishop  of  Worcester,  who  resigned  his  see  and  became 
the  first  Abbot.  The  Reredos  is  modern  and  was  built  in  1S76,  at  a 
cost  of  ^130,  and  is  of  marble.  The  central  part  depicts  the  Descent 
from  the  Cross.  The  side  panels  contain  angels  in  the  attitude  of  wor- 
ship. The  architect  was  E.  Purdy,  of  London,  and  the  builder,  R.  L. 
Boulton,  of  Cheltenham.  The  Reredos  was  the  gift  of  the  Holland 
family.  The  Altar  is  of  oak  and  was  erected  sometime  before  1870. 


222 


SOME  NOTABLE  ALTARS 


ST.  MARY’S  CHURCH,  STREATLEY 

The  Reredos  was  erected  in  1893,  and  is  constructed  of  alabaster. 
The  central  panel  represents  Our  Lord  on  the  Cross,  with  St.  John  and 
the  Virgin  Mary  on  either  side.  The  panel  on  the  Epistle  side  con- 
tains the  Resurrection  and  on  the  Gospel  side  the  Holy  Family.  The 
figures  in  the  canopies  are  the  four  Evangelists  and  Moses  and  Aaron. 
The  work  was  erected  as  a memorial  to  Mrs.  Stone  of  Streatley  Hall. 
Mr.  Pearson  was  the  architect,  and  the  builder  and  sculptor  was 
Mr.  Hitch,  of  Vauxhall.  The  cost  was  about  £ 200. 


By  permission  of  Henry  W.  Taunt  & Co.,  Oxford. 


ALTAR  AND  TRIPTYCH  IN  ALL  SAINTS’  CHURCH,  RICHARD’S  CASTLE,  LUDLOW 


ALL  SAINTS’  CHURCH,  RICHARD’S  CASTLE  227 


ALL  SAINTS’  CHURCH,  RICHARD’S  CASTLE, 

LUDLOW 

The  Altar  and  Triptych  were  erected  in  1892-93.  The  central 
compartment  represents  the  Crucifixion,  and  the  side  panels  contain  St. 
Mary  and  St.  John.  The  panel  on  the  Epistle  side  has  the  figures  of  St. 
James  and  St.  Peter,  and  that  on  the  Gospel  side  of  St.  Catherine  and 
St.  Cecilia.  The  panels  on  the  extreme  right  and  left  contain  adoring 
angels.  The  Triptych  is  one  of  the  finest  examples  of  the  noted  artist, 
Charles  E.  Buckeridge.  The  architect  was  Norman  Shaw.  The  cost 
was  about  £ 800 . 


228 


SOME  NOTABLE  ALTARS 


CHRIST  CHURCH,  READING 

The  Reredos  was  erected  in  1862-63.  It  is  constructed  of  Caen 
stone,  with  forest  of  Dean  shafts.  The  central  representation  is  that 
of  the  Ascension.  The  eleven  disciples  are  arranged  in  groups,  two 
groups  on  either  side  of  Christ.  The  sculptor  was  Mr.  Thomas 
Nicholls.  The  designer  of  the  Reredos  was  Mr.  Burnie  Philips,  the 
architect  the  late  Mr.  Henry  Woodyear,  and  the  builders  Messrs. 
Wheeler  Bros.,  of  Reading.  The  spaces  on  the  east  wall  on  either 
side  of  the  Reredos  are  filled  with  frescoes  executed  by  Heaton,  But- 
ler, and  Bayne  in  1897. 


I .TAR  IN  THE  CRYPT  OF  THE  CATHEDRAL  OF  ST.  JOHN  THE  DIVINE,  NEW  YORK  CITY 


CATHEDRAL  OF  ST.  JOHN  THE  DIVINE  233 


CATHEDRAL  OF  ST.  JOHN  THE  DIVINE,  NEW  YORK 

CITY 

This  Altar  was  exhibited  at  the  World’s  Columbian  Exposition  in 
1893.  Afterward  it  was  purchased  by  Mrs.  Celia  W.  Wallace,  of  Chi- 
cago, and  presented  to  the  Cathedral  of  St.  John  the  Divine,  New  York, 
and  there  placed  in  the  crypt,  where  daily  services  are  now  held.  This 
remarkable  example  of  mosaic  work  was  designed  by  Mr.  Louis  C. 
Tiffany.  There  are  nearly  one  million  pieces  of  opalescent  glass,  pearl, 
and  semi-precious  stones  used  in  its  construction.  The  Altar  is  com- 
posed of  mosaic  and  white  marble,  with  the  monogram  of  the  Holy 
Name  and  the  Apocalyptic  emblems  of  the  Evangelists  in  mosaics  of 
mother-of-pearl  and  semi-precious  stones.  The  Retable  carries  an  in- 
scription in  mosaic  from  the  sixth  chapter  of  the  Gospel  of  St.  John,  re- 
lating to  the  Eucharistic  office.  The  door  of  the  tabernacle  is  of  filigree 
metal  work  enriched  with  gems  and  semi-precious  stones.  The  Reredos 
is  of  iridescent  glass  mosaic,  the  design  being  the  vine,  symbolical  of 
the  Sacrament  of  the  Eucharist,  and  the  Peacock,  a symbol  of  immor- 
tality. The  Ciborium  consists  of  a series  of  arches,  the  faces  of  which 
are  covered  with  ornaments  in  relief,  with  overlays  of  gold  and  settings 
of  glass  jewels,  and  inlays  of  mosaic  inscriptions.  These  arches  are 
supported  by  columns,  composed  entirely  of  mosaic,  and  contain  over 
two  hundred  thousand  pieces  of  glass.  The  Predella  is  approached  by 
a series  of  steps  with  risers  of  glass  mosaic  bearing  inscriptions  from 
the  Psalms  of  David.  From  the  floor  of  the  Chapel  to  the  Predella  are 
five  steps,  symbolizing  the  five  wounds  of  Our  Lord  and  Saviour.  The 
three  upper  steps  upon  which  the  Predella  and  the  Altar  rest  are  typical 
of  the  Holy  Trinity,  the  foundation  of  the  faith. 

This  account  was  chiefly  supplied  by  the  Tiffany  Co. 


SOME  NOTABLE  ALTARS 


234 


CHRIST  CHURCH  CATHEDRAL,  LOUISVILLE,  KY. 

The  Reredos  is  seventeen  feet  high  in  the  centre  and  thirteen 
feet  six  inches  on  the  sides.  It  is  divided  into  seven  panels  with 
shafts  that  support  arches.  The  three  larger  ones  contain  niches 
crowned  by  gabled  canopies.  These  contain  statues  of  Our  Blessed 
Lord  in  the  attitude  of  benediction,  with  the  Virgin  Mother  on  the 
one  side  and  St.  John  on  the  other,  all  carved  of  white  statuary  marble. 
The  statues  stand  upon  pedestals  under  richly  cut  canopies  with  a 
gold-colored  background.  The  minor  niches,  four  in  number,  are  of 
Caen  stone  carved  in  relief  with  the  passion  flower,  the  lily,  the  wheat, 
and  the  vine.  The  Retable  is  of  white  statuary  marble  and  has  two 
gradines  and  a throne  for  the  cross.  The  central  panel  under  the 
cross  has  a chalice  in  relief,  and  the  lower  riser  has  on  its  face  the 
ascription,  “ Holy,  Holy,  Holy,  Lord  God  of  Hosts.”  The  shelving  is 
of  Piedmont  marble,  of  a rich  warm  gray.  The  architect  was  Mr. 
Henry  M.  Congdon. 


ALTAR  AND  REREDOS  IN  CHRIST  CHURCH  CATHEDRAL,  LOUISVILLE,  KY. 


ALTAR  AND  REREDOS  IN  ALL  SAINTS’  CATHEDRAL,  MILWAUKEE,  WIS. 


ALL  SAINTS’  CATHEDRAL 


239 


ALL  SAINTS’  CATHEDRAL,  MILWAUKEE,  WIS. 

The  Altar  and  Reredos  were  erected  in  1902.  The  material  is 
white  oak.  The  central  statue  is  that  of  Our  Lord,  and  St.  Matthew 
and  St.  Luke  with  symbols  are  on  his  right  and  left.  The  statues 
were  carved  at  Munich  in  Bavaria.  The  architects  were  Brielmaier 
and  Sons,  Milwaukee.  They  were  also  the  builders. 


240 


SOME  NOTABLE  ALTARS 


CATHEDRAL  OF  ST.  JOHN,  QUINCY,  ILLINOIS 

The  following  description,  written  by  the  Very  Rev.  Wyllys 
Rede,  D.D.,  which  appeared  in  The  Cathedral  Chimes  for  July,  1907, 
is  reproduced  with  his  consent : — 

“ Through  the  generosity  of  the  family  of  the  late  Richard  F. 
Newcomb,  Esq.,  who  was  for  many  years  an  active  member  of  the 
Cathedral  congregation,  we  have  now  a Reredos  in  the  Cathedral  at 
Quincy  worthy  to  rank  with  the  best  at  home  or  abroad.  It  will  at 
once  be  recognized  by  all  competent  critics  as  a work  of  the  highest 
order  both  in  design  and  execution.  It  is  marked  by  great  originality, 
beauty,  and  significance.  Its  purpose  is  not  merely  ornamental ; it  is 
intended  to  tell  a most  high  and  important  story,  to  set  forth  some  of 
the  chief  truths  of  our  religion  in  such  a way  as  to  stimulate  and 
assist  devotion.  It  is  pervaded  by  a feeling  of  exaltation,  of  aspiration, 
of  solemn  repose  which  is  most  worshipful.  Although  many  minds 
and  hands  have  been  employed  in  its  production,  all  its  features  are 
harmonized  into  a remarkable  unity. 

“ The  theme  of  the  Reredos  is  ‘ The  Final  Harvest.’  It  is  an 
attempt  to  express  in  painting  and  sculpture  the  teachings  of  Our 
Lord  as  to  the  consummation  of  our  redemption.  Its  scriptural  basis 
is  found  in  St.  Matthew  xiii.  24-30  and  36-43.  In  this  beautiful  pas- 
sage of  Holy  Scripture  the  great  Teacher  describes  the  gathering  in  of 
the  harvest  of  souls  at  the  end  of  the  world,  — the  final  harvest  home. 
‘ The  field  is  the  world;  the  harvest  is  the  end  of  the  world;  and  the 
reapers  are  the  angels.  This  noble  conception  is  worked  out  in  the 
Reredos  with  sweat  fullness  and  force. 

O 

“ In  the  central  painting  are  seen  three  bright  and  beauteous 
angels  in  mid-air,  one  bearing  grapes,  another  wheat,  the  third  bending 
over  the  earth  to  curse  the  tares.  Behind  and  beneath  them  stretches 
a wide  landscape  of  smoking  ruins,  crumbling  towers,  and  tottering 
walls,  sinking  into  the  shadows  cast  by  the  lurid  light  of  the  last  day. 
The  skillful  management  of  light  and  shade  in  this  wonderful  painting 
and  its  striking  color  effects  are  worthy  of  careful  study.  It  is  an 


ALTAR  AND  REREDOS  IN  THE  CATHEDRAL  OF  ST.  JOHN,  QUINCY,  ILLINOIS 


CATHEDRAL  OF  ST.  JOHN  243 

original  creation  and  will  rank  high  amongst  the  great  paintings  of 
America. 

“ Above  this  central  scene  and  closely  connected  with  it  is  another 
of  exceeding  interest  and  beauty.  Enthroned  in  the  clouds  sits  the 
Lord  of  the  harvest,  a majestic  and  benignant  figure,  waiting  to  receive 
the  fruits  of  the  harvest,  which  are  being  borne  up  to  him  by  his 
angelic  ministers.  A refulgent,  heavenly  light  streams  down  upon 
him,  indicating  the  presence  of  the  Father  and  his  participation  in 
the  great  harvest  home  together  with  that  of  the  Holy  Spirit,  who 
hovers  between  in  the  form  of  a dove.  Thus  we  have  the  three 
persons  of  the  Holy  Trinity  joining  in  the  consummation  of  our 
redemption  — God  the  Father  represented  by  the  light  from  above, 
God  the  Son  on  the  throne  receiving  the  fruits  of  his  redemption,  and 
God  the  Holy  Spirit  as  the  agent  in  this  great  work.  The  Lord  of 
the  harvest  is  attended  by  a great  company  of  saints  and  angels  who 
have  labored  in  the  harvest  field.  Close  about  him  is  clustered  a 
group  of  angels  radiant  with  the  joy  and  the  triumph  of  the  occasion, 
each  of  whom  has  the  most  marked  individuality  and  should  be  closely 
studied.  They  blend  into  a wonderful  harmony  of  coloring  and  add 
much  to  the  impressiveness  of  the  scene.  In  the  buttresses  at  each 
side  are  other  carved  figures  of  angels  bearing  instruments  of  worship 
with  which  they  celebrate  the  ingathering  of  the  harvest.  But  they 
are  not  the  only  nor  the  chief  attendants  of  the  great  King.  This 
honor  is  reserved  for  the  saints  who  by  his  incarnation  and  redemptive 
work  have  been  united  with  him,  some  of  whom  appear  in  this 
Reredos  as  representatives  of  them  all.  First  and  foremost  are  the  two 
who  were  most  closely  identified  with  him  in  his  earthly  ministry, — 
his  Virgin  Mother  and  the  beloved  disciple  St.  John.  They  stand  at 
either  side  as  witnesses  and  participants  in  the  scene.  The  artist  has 
pictured  them  in  mature  life,  with  the  fair  complexion  which  belonged 
to  the  descendants  of  the  house  of  David,  and  in  attitudes  most 
striking  and  appropriate.  Each  of  these  paintings  is  a masterpiece, 
that  of  St.  John  being  especially' notable  for  power  and  originality. 

“ Across  the  base  of  the  structure  stretches  an  array  of  carved  fig- 
ures of  saints  representative  of  the  laborers  in  the  harvest  field  in  all 


244 


SOME  NOTABLE  ALTARS 


ages  of  the  Church.  In  the  centre  stand  four  representatives  of  Apos- 
tolic times — on  the  left  two  Apostles  to  the  Jews,  St.  Peter  and 
St.  James,  and  on  the  right  two  missionaries  to  the  Gentiles,  St.  Paul 
and  St.  Barnabas.  At  the  extreme  left  appear  two  great  leaders  of  the 
undivided  Church,  St.  Ambrose  and  St.  Augustine.  The  correspond- 
ing position  at  the  right  is  occupied  by  two  great  representatives  of 
Anglican  Christianity,  one  from  ancient  and  the  other  from  modern 
times,  St.  Anselm  and  John  Keble.  All  these  are  exquisitely  carved, 
and  each  of  them  exhibits  a most  striking  individuality.  Together 
they  form  a noble  group  of  laborers  in  the  harvest.  As  signs  of  the 
toil  and  suffering  with  which  the  harvest  was  gathered  in,  the  marks 
of  the  Passion  are  seen  near  the  summit  of  the  Reredos.  Attached  to 
the  central  buttresses  is  the  highly  colored  coat  of  arms  of  the 
Cathedral,  and  upon  the  outer  buttresses  that  of  the  Diocese,  both  of 
these  having  been  designed  by  the  eminent  authority  in  heraldry, 
Mr.  Pierre  de  Chaignon  la  Rose,  of  Boston.  The  woodwork  of  the 
Reredos,  which  is  of  carved  oak  and  is  colored  a soft  grayish  brown, 
was  designed  by  Messrs.  Cram,  Goodhue,  and  Ferguson,  of  Boston,  and 
executed  by  William  F.  Ross  and  Co.,  of  Cambridge.  The  paintings  are 
the  work  of  the  artist-priest,  the  Rev.  Johannes  A.  Oertel,  D.D.,  of 
Washington,  D.C.,  a painter  who  works  in  the  spirit  of  the  old 
masters  and  whose  canvasses  enrich  many  of  our  churches.” 

The  central  painting  has  been  valued  at  $5000.  The  cost  of  the 
rest  of  the  work  is  stated  at  $3000.  On  July  7,  1907,  being  the  sixth 
Sunday  after  Trinity,  the  Altar  and  Reredos  received  a benediction 
through  Bishop  Fawcett.  He  was  assisted  in  the  Holy  Eucharist  by 
Dean  Rede  and  Canon  Gustin,  who  acted  as  gospeller  and  epistoler. 
The  sermon  was  preached  by  the  Rev.  Edward  A.  Larrabee,  Rector  of 
the  Church  of  the  Ascension,  Chicago.  He  was  a former  Rector  of 
St.  John’s  Church  at  the  time  when  it  became  the  diocesan  Cathedral. 


ALTAR  AND  REREDOS  IN  TRINITY  CHURCH,  NEW  YORK  CITY 


TRINITY  CHURCH 


247 


TRINITY  CHURCH,  NEW  YORK  CITY 

The  architect,  Mr.  Frederick  Clarke  Withers,  furnishes  the  follow- 
ing description : — 

“The  memorial  to  the  late  William  B.  Astor,  which  has  been 
erected  by  his  two  sons  in  Trinity  Church,  is  in  the  form  of  an  Altar 
and  Reredos,  the  latter  occupying  nearly  the  whole  width  (thirty-five 
feet)  of  the  Chancel,  and  carried  up  as  high  as  the  sill  of  the  large 
seven-light  window  which  is  about  twenty  feet  from  the  floor. 

“ The  Altar  is  eleven  feet  long,  and  is  constructed  of  pure  white 
statuary  marble,  with  shafts  of  Lisbon  red  marble  supporting  capitals 
„ carved  in  natural  foliage  dividing  the  front  and  side  into  panels.  In 
the  centre  panel,  which  is  carved  with  passion  flowers,  is  a maltese 
cross  in  mosaic,  set  with  cameos,  a head  of  Our  Lord  being  in  the 
centre,  and  the  symbols  of  the  Evangelists  at  the  extremities  of  the 
four  arms ; this  panel  is  flanked  by  two  kneeling  angels,  the  one  in 
adoration  and  the  other  in  prayer.  The  other  panels  in  front  which 
are  carved  with  ears  of  wheat  are  also  in  mosaic,  and  contain  the  ‘ Peli- 
can’and  the  ‘Agnus  Dei,’ and  those  at  the  side  the  sacred  monograms. 
The  white  marble  mensa  is  set  on  a cornice  composed  of  grapevines, 
and  is  inlaid  with  five  crosses  of  red  marble.  The  Super- Altar  is  of  red 
Lisbon  marble,  with  the  words  ‘ Holy,  Holy,  Holy,’  inlaid  in  mosaics 
on  its  face,  and  its  shelf  is  continued  on  each  side  the  whole  length  of 
the  Reredos  for  the  reception  of  flowers  at  festivals. 

“The  design  of  the  Reredos  is  in  the  perpendicular  style  of  Gothic, 
so  as  to  be  in  keeping  with  that  of  the  Church.  It  is  constructed  of 
Caen  stone,  elaborately  carved,  a great  deal  of  the  carving  being  after 
natural  foliage.  In  the  lower  portion  on  each  side  of  the  altar  are 
three  square  panels  filled  with  colored  mosaics  in  geometrical  patterns. 
Above  the  line  of  the  Super-Altar  are  seven  panels  of  white  marble, 
sculptured  in  alto-relievo,  representing  incidents  in  the  life  of  Our 
Blessed  Lord  immediately  preceding  and  subsequent  to  the  Last 
Supper;  this  is  modeled  after  the  celebrated  picture  by  Leonardo  da 
Vinci,  and  fills  the  centre  panel  over  the  Altar;  underneath  this  ap- 


248 


SOME  NOTABLE  ALTARS 


pears  in  raised  letters  the  words,  ‘ Having  loved  his  own  which  were 
in  the  world,  he  loved  them  unto  the  end.’  On  the  right  of  this  panel, 
under  a canopied  niche,  stands  a white  marble  statuette  of  St.  Raphael 
with  a flaming  sword  in  his  hand,  and  on  the  left,  St.  Gabriel,  holding 
a bunch  of  lilies  and  a scroll.  On  the  extreme  right  of  the  Reredos,  in 
the  other  panels,  are  : I.  St.  Mary  Magdalene  pouring  ointment  on  the 
feet  of  Our  Lord,  inscribed  underneath  with  the  words,  ‘ She  hath  done 
what  she  could’;  II.  The  triumphal  entry  into  Jerusalem,  with  the 
words,  ‘ Hosanna  to  the  Son  of  David’;  III.  Our  Lord  washing  the 
disciples’  feet,  with  ‘ I am  among  you  as  he  that  serveth.’  On  the  left, 
in  continuation,  is:  IV.  The  agony  in  the  garden,  with  the  words, 
‘On  Him  was  laid  the  iniquity  of  us  all’;  V.  The  betrayal,  inscribed 
with,  ‘This  is  your  hour  and  the  power  of  darkness’;  and  VI.  Our 
Lord  before  Pilate,  who  is  in  the  act  of  saying,  ‘ I find  no  fault  in  this 
man.’ 

“ The  Reredos  is  divided  into  three  bays  by  buttresses,  which  con- 
tain, under  canopies  on  their  face,  four  doctors  of  the  Church  : I.  St. 
Jerome,  represented  in  the  act  of  translating  the  Bible,  accompanied 
by  the  Lion  endeavoring  to  show  his  gratitude  for  taking  the  thorn 
out  of  his  foot;  II.  St.  Ambrose,  in  bishop’s  costume,  in  the  attitude 
of  delivering  a discourse,  with  the  Beehive,  his  characteristic  emblem,  on 
his  left;  III.  St.  Augustine,  in  same  costume  as  St.  Ambrose,  in  the  act 
of  giving  the  benediction;  and  IV.  St.  Gregory,  in  the  act  of  writing 
his  Homilies.  In  the  centre  bay,  under  a large  multifoiled  arch,  is 
represented  the  Crucifixion  in  high  relief.  On  the  right  of  the  Cross 
stand  St.  John  and  St.  Mary,  the  Mother  of  our  Lord;  St.  Mary  Magda- 
lene kneeling  embraces  the  feet  which  brought  such  mercy  to  her;  and 
on  the  left  are  the  other  Mary  and  the  Centurion.  This  subject  is 
supported  on  an  elaborately  carved  cornice  composed  of  passion 
flowers,  and  underneath  are  the  words,  ‘ Behold  the  Lamb  of  God.’ 
Ranged  on  either  side  in  the  two  other  bays  are  statuettes  of  the 
Twelve  Apostles,  thirty  inches  high,  each  with  his  characteristic 
attribute:  — 

“ I.  St.  Jude  carrying  a book,  and  with  a club,  the  weapon  with 
which  he  was  killed. 


TRINITY  CHURCH 


249 


“ II.  St.  Bartholomew  carrying  a large  knife,  the  instrument 
of  his  martyrdom. 

“III.  St.  Thomas  with  a builder’s  rule. 

“ IV.  St.  Matthew,  who  was  a tax-gatherer,  with  a money-box  in 
his  left  hand,  indicative  of  his  calling. 

“V.  St.  John  holding  a chalice  with  a serpent  issuing  from  it. 

“VI.  St.  James  Minor,  first  Bishop  of  Jerusalem,  with  pen  and 
book,  and  the  fuller’s  club,  the  instrument  with  which  he 
was  beaten  to  death. 

“VII.  St.  Peter  with  the  keys  in  his  right  hand  and  a book  in  his 
left. 

“VIII.  St.  Andrew  with  a transverse  cross,  similar  in  shape  to  that 
on  which  he  was  crucified. 

“ IX.  St.  Simon  with  a saw,  the  instrument  with  which  he  was 
sawn  asunder. 

“ X.  St.  Matthias  with  a book,  and  an  axe  to  indicate  that  he  was 
beheaded  for  his  preaching. 

“ XI.  St.  Philip  holding  a tall  staff  with  a Latin  cross  at  the  top. 

“XII.  St.  James  Major  bearing  a pilgrim’s  staff,  to  which  a wallet 
is  suspended,  and  with  a scallop-shell  on  his  flapped  hat. 

“ These  statuettes  are  placed  in  niches,  with  traceried  heads,  carried 
by  polished  Bay  of  Funday  red  granite  shafts,  with  the  background 
carved  in  diaper  and  gilded.  On  the  extreme  ends  of  this  line,  facing 
north  and  south,  are  the  figures  of  St.  Michael  and  St.  George,  under 
canopies  similar  to  those  over  the  Doctors. 

“ In  the  centre  bay,  above  the  Crucifixion,  are  sculptured  in  panels 
set  in  diaper  work  the  Resurrection  and  the  Ascension.  In  the  gab- 
let which  surmounts  it,  and  inclosed  in  a Vesica  Piscis,  is  represented 
Our  Lord  in  his  Majesty,  holding  the  globe  in  his  left  hand,  and  bless- 
ing with  his  right;  and  on  either  side,  and  filling  the  spandrils,  are 
sculptured  Angels  kneeling  in  adoration.  Underneath  the  main  cor- 
nice of  the  side  bays,  and  forming  part  of  it,  is  inscribed  in  raised  let- 
ters, ‘ To  the  Glory  of  God,  in  Memory  of  Wm.  B.  Astor,  this  Reredos 
is  erected  a.  d.  1877.’ 

“ Angels,  with  uplifted  wings,  playing  on  musical  instruments  (viz. 


2 50 


SOME  NOTABLE  ALTARS 


the  Tambourine,  the  Pandore,  the  Lyre,  and  the  Cymbals),  emblematic 
of  the  Church  Triumphant,  crown  the  four  buttresses. 

“ The  statuary  and  mosaics  were  executed  in  London,  and  the 
whole  of  the  carving,  Caen  stone  work  of  Reredos,  and  marble  work 
of  Altar,  including  the  setting  up,  was  done  by  Messrs.  Ellin  and  Kit- 
son  of  this  city.” 


J 


'S 


ALTAR  AND  REREDOS  IN  TRINITY  CHAPEL,  NEW  YORK  CITY 


TRINITY  CHAPEL 


253 


TRINITY  CHAPEL,  NEW  YORK  CITY 

The  lower  part  of  the  Reredos  against  which  the  Altar  is  built  is 
of  Sienna  marble.  The  design  is  in  the  early  English  Gothic,  in  keep- 
ing with  the  rest  of  the  building.  The  upper  part  is  made  of  Caen 
stone  and  is  divided  into  three  panels.  The  figures  are  of  marble,  on 
a background  of  alabaster.  In  the  centre  is  the  Crucifixion,  and  on  one 
side,  in  full  relief,  St.  Mary,  and  on  the  other  side  St.  John.  The  side 
compartments  are  subdivided  by  slender  onyx  columns  into  smaller 
panels  with  trefoiled  heads.  On  the  right  of  the  centre  compartment  are 
the  figures  of  St.  Peter  and  St.  James  the  Great  and  on  the  left  those 
of  St.  Andrew  and  St.  Paul.  The  Altar  and  Reredos  were  erected 
by  the  congregation  of  Trinity  Chapel  in  memory  of  the  late  Rev. 
C.  E.  Swope,  D.D.  The  work  was  executed  by  Ellin,  Kitson  and  Co.,  of 
New  York  City,  from  designs  of  the  architect,  Mr.  F.  C.  Withers,  of  the 
same  city. 


254 


SOME  NOTABLE  ALTARS 


CHURCH  OF  THE  TRANSFIGURATION,  NEW  YORK 

CITY 

The  Reredos  is  constructed  of  Caen  stone,  and  was  erected  by 
Mrs.  Zabriskie  as  a memorial  to  her  mother.  It  is  divided  into  three 
parts.  On  the  central  one  is  a representation  of  Our  Lord’s  Trans- 
figuration. In  the  side  divisions  are  figures  of  St.  Matthew  and  St. 
Luke.  Mr.  Withers  was  the  architect.  The  Altar  is  of  white 
statuary  marble  and  was  designed  by  the  Rev.  Dr.  G.  C.  Houghton, 
the  Rector  of  the  parish.  Borgia  Bros,  were  the  builders.  A 
cross  and  crown  form  the  decoration  on  the  front  of  the  Altar, 
between  the  mosaics.  On  the  left  the  mosaics  represent  St.  Michael 
in  the  vestments  of  a Priest  and  those  on  the  right  St.  Gabriel  in 
the  vestments  of  a Deacon.  The  windows  on  the  side  of  the  Altar 
were  placed  by  the  Altar  Society  in  memory  of  their  first  president, 
Miss  Ballow,  who  held  the  office  for  twenty  years.  Each  has  the  form 
of  an  angel  carrying  a censer,  while  below  are  the  words,  “ Holy,  Holy, 
Holy,  Lord  God  of  Sabaoth.” 


ALTAR  AND  REREDOS  IN  THE  CHURCH  OF  THE  TRANSFIGURATION,  NEW  YORK  CITY 


ALTAR  AND  REREDOS  IN  THE  CHURCH  OF  ST.  IGNATIUS,  NEW  YORK  CITY 


CHURCH  OF  ST.  IGNATIUS 


259 


CHURCH  OF  ST.  IGNATIUS,  NEW  YORK  CITY 

The  Altar  is  of  Vermont  statuary  marble  with  Italian  marble 
steps,  in  white.  It  was  erected  in  1886  and  the  architect  was  Mr. 
Kivas  Tully,  now  of  St.  Louis,  Mo.  The  builders  were  Fisher  and 
Bird,  of  New  York  City.  The  cost,  including  the  statues,  was  about 
$5000.  The  figures  of  St.  Ignatius  and  the  two  others,  St.  Mary  the 
Virgin  and  St.  Michael,  are  well  executed.  The  Reredos  was  enlarged 
three  years  ago. 


26o 


SOME  NOTABLE  ALTARS 


CHURCH  OF  THE  INCARNATION,  NEW  YORK  CITY 

What  is  known  as  the  Constable  Chapel  was  added  to  the  Church 
in  1903.  It  was  erected  to  the  memory  of  the  late  James  M.  Con- 
stable by  his  children.  The  Altar  and  Reredos  are  constructed  of 
Caen  stone.  The  central  representation  is  that  of  the  Lord’s  Supper. 
Figures  of  the  four  Evangelists  are  arranged  on  each  side  in  canopied 
niches.  The  Chancel  steps  are  of  marble  and  the  floor  mosaic.  The 
words  “ Wonderful,  Counsellor,  The  Mighty,  God,  The  everlasting 
Father,  The  Prince  of  Peace,  ” are  worked  in  designs  in  the  floor. 
The  architect  was  Mr.  Henry  Vaughan,  of  Boston,  and  the  builders, 
Evans  and  Co.,  of  the  same  city.  The  cost  of  the  Chapel,  Altar,  and 
Reredos  was  upward  of  $30,000. 


ALTAR  AND  REREDOS  IN  THE  CONSTABLE  CHAPEL  IN  THE  CHURCH  OF  THE  INCARNATION, 

NEW  YORK  CITY 


ALTAR  AND  REREDOS  IN  THE  CHURCH  OF  ST.  EDWARD  THE  MARTYR,  NEW  YORK  CITY 


CHURCH  OF  ST.  EDWARD  THE  MARTYR  265 


CHURCH  OF  ST.  EDWARD  THE  MARTYR,  NEW 

YORK  CITY 

The  Altar  is  of  white  marble  and  was  given  by  Mrs.  Harriet  B. 
Ranney  in  memory  of  her  two  sons.  It  was  made  and  erected  by  R. 
Geissler,  of  New  York.  The  Reredos  was  added  later.  It  is  fifty  feet 
high  and  twenty  feet  broad.  It  is  constructed  of  finely  carved  oak. 
The  central  panel  contains  a rich  mosaic  of  Christ  in  Benediction, 
while  the  side  panels  are  filled  with  adoring  angels.  The  richness  of 
the  mosaic  work  in  the  upper  part  of  the  Reredos,  the  blending  of 
gold  and  various  colors,  all  present  a most  pleasing  harmony.  The 
Bishop  of  Fond  du  Lac  writes  of  the  Reredos  that  “ it  marks  a new 
stage  in  the  progressive  development  of  ecclesiastical  art.  The  con- 
trast in  color  between  the  Choir  and  the  Sanctuary  is  very  effective 
and  significant.  The  figure  of  Our  Lord  vested  with  outstretched 
hands,  in  welcome,  not  in  agony,  tell  the  worshipper  of  his  presence 
with  his  people.  The  details  of  the  work  are  suggestive  and  beauti- 
ful.” The  Reredos  was  executed  by  J.  and  R.  Lamb,  New  York 
City. 


266 


SOME  NOTABLE  ALTARS 


CHURCH  OF  ZION  AND  ST.  TIMOTHY,  NEW  YORK 

CITY 

The  Altar  is  of  white  marble  and  the  Reredos  of  alabaster  and 
Caen  stone.  They  were  built  in  1891-92.  In  the  niches  are  five 
statues.  The  central  one  represents  Our  Blessed  Lord  and  the  two 
on  each  side  the  Evangelists.  The  Altar  is  eleven  and  a half 
feet  long  and  the  mensa  a solid  slab  of  faultless  marble.  Between  the 
Altar  and  Reredos  is  a narrow  Ambulatory  to  allow  the  placing  of 
flowers  and  other  ornaments  on  the  Retable.  The  structure  is  known 
as  a tomb  Altar.  The  whole  is  a memorial  to  the  late  Rev.  George 
Jarvis  Geer,  D.D.  The  architect  was  Mr.  William  Halsey  Wood  and 
the  builder  R.  Geissler.  The  cost  was  about  $ 6000 . 


ALTAR  AND  REREDOS  IN  THE  CHURCH  OF  ZION  AND  ST.  TIMOTHY,  NEW  YORK  CITY 


ALTAR  AM)  REREDOS  IN  THE  CHAPEL  OF  THE  GENERAL  THEOLOGICAL  SEMINARY, 

NEW  YORK  CITY 


GENERAL  THEOLOGICAL  SEMINARY 


271 


GENERAL  THEOLOGICAL  SEMINARY,  CHELSEA 
SQUARE,  NEW  YORK  CITY 

The  Altar  and  Reredos  were  built  in  1888  of  English  alabaster. 
The  mensa  is  of  white  marble  and  is  supported  upon  pillars  of  red 
marble.  The  Reredos,  which  is  twenty  feet  wide  and  sixteen  feet 
high,  is  constructed  with  arches  supported  upon  pillars  of  red  marble. 
The  nine  niches  contain  figures  of  white  marble.  The  central  one 
represents  Christ  as  the  Good  Shepherd.  Those  on  the  Epistle 
side  are  St.  John  the  Baptist,  St.  John,  St.  Luke,  and  St.  Paul.  Those 
on  the  Gospel  side  are  Moses,  St.  Matthew,  St.  Mark,  and  St.  Peter. 
The  Altar,  Reredos,  and  Rood  Screen  were  the  gifts  of  Mrs.  Glorvina 
R.  Hoffman  in  memory  of  her  husband,  Samuel  V.  Hoffman. 
These  persons  were  the  parents  of  the  late  Dean  Hoffman.  The 
architect  was  Mr.  Charles  C.  Haight  and  the  builder  Mr.  R.  C.  Fisher, 
both  of  New  York  City.  The  cost  of  the  Altar  and  Reredos  with- 
out the  statuary  was  $5975. 


272 


SOME  NOTABLE  ALTARS 


ST.  JAMES’  CHURCH,  PHILADELPHIA,  PA. 

The  Altar  and  Reredos  were  the  gifts  of  Mrs.  Howard  J.  Gibson, 
in  memory  of  her  deceased  husband.  The  material  used  is  Caen 
stone  for  the  Reredos  and  Iowa  marble  for  the  Altar.  There  are 
twenty-eight  statues  of  stone,  the  principal  and  larger  ones  being 
arranged  in  a row  of  ten.  The  subjects  of  these,  going  from  left 
to  right,  are  as  follows:  1.  St.  Columba;  2.  St.  Edward  the  Martyr; 
3.  St.  Thomas  of  Canterbury;  4.  St.  John  the  Baptist;  5.  The 
Blessed  Virgin  Mary;  6.  St.  John;  7.  Isaiah;  8.  Aaron;  9.  David; 
10.  Moses.  The  Sedilia  and  Credence  are  of  stone  built  up  solidly 
from  the  floor.  The  designers  were  Cram,  Goodhue,  and  Fergu- 
son, and  the  builders  were  J.  F.  Whitman  and  Co.,  of  Philadelphia. 


ALTAR  AND  REREDOS  IN  THE  CHURCH  OF  ST.  JAMES,  PHILADELPHIA,  PA. 


/ o 


ALTAR  AND  REREDOS  IN  ST.  STEPHEN’S  CHURCH,  PHILADELPHIA,  PA. 


ST.  STEPHEN’S  CHURCH 


2 77 


ST.  STEPHEN’S  CHURCH,  PHILADELPHIA,  PA. 

The  Reredos  was  unveiled  on  January  17,  1889.  It  was  erected 
by  Mrs.  James  Magee  in  memory  of  her  mother.  The  Last  Supper 
fills  the  central  part  and  was  designed  by  Salviati.  The  workmen 
of  this  artist  executed  the  work  under  the  direction  of  Mr.  Henry 
Holiday,  of  London.  In  a letter  of  July  6,  1888,  the  latter  writes: 
“ Your  mosaic  is  at  length  completed.  It  was  on  view  last  Saturday 
and  Sunday.  I ought  to  say  that  Mrs.  Holiday,  who  has  great  experi- 
ence in  embroidery,  an  art  closely  allied  in  spirit  to  mosaic,  has  as- 
sisted me  in  the  execution  of  the  work.  All  the  heads  have  been 
executed  by  Mrs.  Holiday  and  myself.”  The  mosaic  measures  twelve 
by  five  feet.  It  is  said  to  contain  upwards  of  180,000  pieces. 


278 


SOME  NOTABLE  ALTARS 


ST.  ELIZABETH’S  CHURCH,  PHILADELPHIA 

The  following  description  appeared  in  The  Living  Church  for 
August  1 1,  1906  : — 

“ A magnificent  altar  was  dedicated  on  the  Eighth  Sunday 
after  Trinity  at  St.  Elizabeth’s  Church  by  the  Rt.  Rev.  William  Walter 
Webb,  D.D.,  Bishop  Coadjutor  of  Milwaukee,  who  was  the  second 
Rector  of  the  parish,  succeeding  the  late  Rev.  Henry  Robert 
Percival,  D.D.,  the  founder  of  the  parish.  The  Altar  and  Reredos 
are  in  ‘ English-Italian  ’ and  ‘American  Pavanazia’  marbles,  with 
carver  caps  and  ornaments  in  Caen  stone,  gilded.  The  tabernacle 
is  of  white  Alabama  marble  with  gilded  ornaments  and  the  door 
is  of  bronze,  made  in  Paris,  gilded,  and  contains  precious  stones, 
and  a Latin  cross  with  Agnus  Dei  in  centre.  The  subject  of  the 
large  painting  in  the  Reredos  is  ‘ The  Resurrection  and  the  Four 
Evangelists,’  copied  especially  for  St.  Elizabeth’s  Church,  by 
Eugenio  Capelli,  of  Florence,  who  has  painted  a number  of  other 
pictures  for  this  Church.  The  original  of  the  Altarpiece  is  in  the 
Pitti  Gallery,  Florence,  by  Fra  Bartolomeo.  The  inscription  on 
the  pediment  is  D.  O.  M.  sub  Invocatione  S.  Elizabeth.  The  first 
design  for  the  Altar  was  drawn  by  the  Rev.  W.  H.  McClellan,  one 
of  the  priests  connected  with  St.  Elizabeth’s,  and  Messrs.  Bailey  and 
Bassett  were  the  supervising  architects.  The  marble  work  was  done 
by  Sharpless  and  Watts.  Some  five  hundred  members  and  friends  of 
the  parish  contributed  toward  this  Altar,  many  of  its  parts  being 
special  memorial  gifts.  The  pilasters  and  gradines  were  given  by 
the  Sunday  Schools  of  the  parish,  who  have  raised  over  $600  for  the 
same  during  the  past  year.  The  total  cost  is  $2600.” 


:ABETH 


D-O-V  • 5 


i.-:- 


ALTAR  AND  REREDOS  IN  ST.  ELIZABETH’S  CHURCH,  PHILADELPHIA,  PA. 


ALTAR  AND  REKEDOS  IN  THE  CHURCH  OF  THE  SAVIOUR,  WEST  PHILADELPHIA,  PA. 


CHURCH  OF  THE  SAVIOUR 


283 


CHURCH  OF  THE  SAVIOUR,  WEST  PHILADELPHIA 

Back  of  the  Altar  there  is  a marble  elevation  with  the  Agnus  Dei 
at  the  top  and  on  the  slab  are  the  words  “ Blessing  and  honor  and 
glory  and  power,  be  unto  him  that  sitteth  upon  the  throne  and  unto 
the  Lamb  for  ever  and  ever.” 

The  mural  decorations,  by  Mr.  Edwin  H.  Blashfield,  are  memorials 
to  the  late  Anthony  J.  Drexel,  a prominent  banker  and  philanthropist 
and  the  founder  of  the  Drexel  Institute  of  Philadelphia.  He  was  also 
the  Senior  Warden  of  the  Parish. 

Of  the  decorations  the  art  editor  of  The  Piiblic  Ledger  thus 
writes : — 

“ The  scheme  of  the  composition  presents  a choir  of  angels  sur- 
rounding a figure  which  holds  the  Grail.  The  color  scheme  ulti- 
mately resolves  itself  into  a burst  of  golden  light,  although  blues 
predominate  amidst  a related  mass  of  pale  tints,  the  latter  serving 
to  modulate  the  color  into  rich  harmony.  Gold  has  been  freely  used 
everywhere.  The  flat  massing  of  the  halos  and  the  simple  treatment 
of  the  figures  suggest  the  old  masters  studied  by  the  pre-Raphaelite 
school,  Mr.  Blashfield’s  treatment  being  thoroughly  modern,  however. 
What  the  old  art  has  to  teach  is  here  assimilated  and  made  part  of  an 
art  new  and  beautiful  and  strong. 

“ The  planets  in  nebulous  spots  of  gold  and  the  cloud  masses, 
although  hazily  suggested  in  the  composition  with  amazing  skill,  con- 
sidering the  difficulty  of  the  heavy  color,  are  brilliantly  handled  so  as 
to  suggest  the  idea  of  being  in  some  place  that  is  other-worldly.  The 
idea  and  the  means  are  trite,  but  the  artist’s  treatment  is  such  that  the 
philosophical  concept  of  the  whole  design  becomes  an  inseparable  part 
of  the  execution.  In  this  it  recalls  the  Sargent  decoration  in  the  Bos- 
ton Library  and  the  Velasquez  ‘ Coronation  of  the  Virgin’  in  Madrid. 

“The  decoration  is  brilliant  rather  than  calm.  Yet  even  this 
vibrant  quality  contrives  to  carry  the  eye,  and  the  mind,  too,  direct  to 
the  central  figure,  which  is  of  great  beauty  and  dignity.  Here  the 
gold  is  touched  into  a vivid  flame  of  scarlet,  this  being  the  highest 


284 


SOME  NOTABLE  ALTARS 


note  in  the  composition,  toward  which  all  leads  and  from  which  all 
modulates. 

“The  lower  wall  behind  the  Altar  presents  conventionalized  figures, 
eleven  in  number,  presenting  various  types  of  humanity.  Gold  is  here 
used  again,  but  in  subordination,  on  the  thin  line  of  the  halos  and  the 
embossed  embroidery  of  the  rich  draperies.  The  decorative  use  of  the 
unopened  bud  of  the  lily  is  brought  into  the  composition  effectively 
and  with  something  of  novelty.” 


ALTAR  AND  RKRKDOS  IN  ST.  MARY’S  CHURCH,  WEST  PHILADELPHIA,  PA. 


ST.  MARY’S  CHURCH 


2 87 


ST.  MARY’S  CHURCH,  WEST  PHILADELPHIA,  PA. 

The  Altar  and  Reredos  are  fine  examples  of  modern  mosaic 
work  made  in  the  studios  of  Rome.  The  marble  sculpture  is  by 
Valenzi,  the  Byzantine  mosaic  by  Leonardi,  and  the  Roman  mosaic 
by  Rubicondi,  each  famous  in  his  line.  The  marble  forming  the 
framework  of  the  pictures  is  twenty-two  feet  eight  inches  in  height 
by  ten  feet  eight  inches  in  breadth.  In  the  apex  of  the  Gothic 
Reredos  is  a representation  of  the  Ascension.  Below  this  in  the  great 
central  panel  is  a mosaic  of  the  Crucifixion  after  Guido  Reni.  On  a 
broad  panel  nearly  the  whole  width  of  the  Retable  is  the  Nativity, 
with  the  adoration  of  the  wise  men  and  the  shepherds.  The  smaller 
panels  are  symbolical.  Those  on  the  left  contain  the  emblems  of 
the  Passion  and  those  on  the  right  the  symbols  of  the  Eucharist. 
Many  of  the  stones  in  the  panels  were  gathered  in  Palestine,  Syria, 
Egypt,  and  the  East.  The  twisted  columns  are  also  inlaid  with 
colored  stones  in  Byzantine  style.  The  face  of  the  Altar  has  the 
Agnus  Dei,  flanked  by  Alpha  and  Omega.  The  Altar  was  built 
under  the  direction  of  the  Rev.  J.  Bloomfield  Wetherill  as  a memorial 
to  his  mother,  Mrs.  Isabella  Macomb  Wetherill,  widow  of  Dr.  William 
Wetherill,  who  died  on  Christmas  Day,  1871.  The  Altar  was 
exhibited  in  the  Italian  art  department  at  the  Centennial  Exposition 
in  Philadelphia  in  1876.  After  the  death  of  Rev.  Mr.  Wetherill  in 
1886  it  was  made  a memorial  of  him  as  well  as  of  his  mother,  and 
the  ends  of  the  Altar  bear  inscriptions  to  this  effect.  It  was 
presented  to  St.  Mary’s  parish  by  Mr.  William  H.  Wetherill,  the 
letter  of  the  Vestry  accepting  the  gift  bearing  date  of  January  22, 
1890.  The  original  cost  of  the  Altar,  aside  from  its  transportation 
and  putting  in  place,  was  $25,000. 


288 


SOME  NOTABLE  ALTARS 


ST.  TIMOTHY’S  CHURCH,  ROXBOROUGH,  PHILADEL- 
PHIA, PA. 

The  Altar  was  erected  in  1893  of  pink  African  marble.  It  has 
two  gradines  of  colored  French  marble.  The  central  panel  of  the 
Reredos  is  made  of  vitreous  mosaic,  the  workmanship  of  Hardman 
and  Sons,  of  London.  It  represents  the  Lord  in  glory,  crowned, 
and  holding  a globe,  while  surrounded  by  angels,  swinging  censers.  In 
the  wing  of  the  Reredos,  on  the  left  side  as  you  face  the  Altar,  are 
Moses,  Aaron,  Noah,  David,  and  St.  John  the  Baptist.  The  wing  on 
the  other  side  contains  five  of  the  Apostles.  All  these  figures  are 
in  the  attitude  of  adoration  looking:  toward  the  efiorified  Christ. 
The  two  wings  were  constructed  as  a memorial  to  Mary  Sophia 
Merrick  and  were  erected  in  1898  at  the  cost  of  $1500.  The  total 
cost  of  the  whole  work  was  $3500.  The  marble  builders  were  Atkin- 
son and  Mylhertz,  and  the  architects,  G.  W.  and  W.  D.  Hewitt,  of 
Philadelphia. 


ALTAR  AND  REREDOS  IN  ST.  TIMOTHY’S  CHURCH,  ROXBOROUGH,  PHILADELPHIA 


ALTAR  AND  RKREDOS  IN  ST.  LUKE’S  CHURCH,  GERMANTOWN,  PA. 


ST.  LUKE’S  CHURCH 


293 


ST.  LUKE’S  CHURCH,  GERMANTOWN,  PA. 

The  Altar  and  Reredos  were  erected  in  1903,  and  dedicated  on  the 
eve  of  Whitsunday  of  that  year.  The  material  used  in  construction  is 
Caen  stone.  The  architect  was  Mr.  George  T.  Pearson,  of  Philadelphia, 
and  the  builders  were  J.  P.  Whitman  Co.  of  the  same  city.  The  middle 
of  the  Reredos  represents  the  Crucifixion,  and  the  niches  on  each  side 
will  in  time  be  filled  with  Scripture  characters.  This  beautiful  work  of 
art  is  a memorial  of  the  late  William  Penn  Troth,  Jr. 


SOME  NOTABLE  ALTARS 


2 94 


ST.  PETER’S  CHURCH,  GERMANTOWN,  PA. 

The  Altar  and  Reredos  were  erected  in  1896.  The  material  used 
is  Caen  stone.  There  are  six  carved  figures.  Looking  east  toward 
the  Altar,  on  the  extreme  left  is  St.  Peter  and  on  the  extreme  right,  St. 
Paul.  Between  these  are  St.  Matthew,  St.  Mark,  St.  Luke,  and  St. 
John.  The  architect  was  Theophilus  P.  Chandler,  of  Philadelphia,  and 
the  builder,  William  J.  Gruhler,  of  Germantown.  The  cost  was  $2500. 
The  work  is  a memorial  to  Henry  Howard  Houston,  by  his  widow. 
The  beauty  of  the  Altar  and  Reredos  are  much  enhanced  by  the 
artistic  surroundings  of  the  Chancel  and  Sanctuary. 


ALTAR  AND  REREDOS  IN  ST.  PETER’S  CHURCH,  GERMANTOWN,  PA. 


ALTAR  AND  REREDOS  IN  GRACE  CHURCH,  BALTIMORE,  MD. 


GRACE  CHURCH 


299 


GRACE  CHURCH,  BALTIMORE,  MD. 

Erected  in  1898.  The  architect  was  Henry  M.  Congdon.  The 
main  subject  of  the  Reredos  is  the  Institution  of  the  Lord’s  Supper. 
The  side  figures  represent  St.  John  the  Baptist  and  St.  Luke.  The 
subjects  in  bas-relief  on  the  Altar  front  are  Sacrifice  of  Noah,  Melchiz- 
edek,  and  Abraham,  and  Sacrifice  of  Isaac.  The  cost  was  $ 9000 . It 

was  erected  by  Mrs.  William  M.  Innez  to  the  memory  of  her  husband 
and  children. 


3°° 


SOME  NOTABLE  ALTARS 


CHURCH  OF  THE  EPIPHANY,  WASHINGTON,  D.C. 

The  Reredos  was  erected  in  1902  and  is  constructed  of  Indiana 
limestone.  The  architecture  is  Gothic.  The  central  representation  is 
the  Institution  of  the  Lord’s  Supper  carved  in  high  relief.  A sculp- 
tured angel  is  placed  in  a niche  on  each  side  of  the  Altar.  An 
elaborate  canopy  gives  beauty  and  effectiveness  to  the  whole  structure. 
The  Reredos  was  the  work  of  Mr.  Henry  Randall,  architect,  and 
Mr.  W.  O.  Partridge,  sculptor. 


! 


ALTAR  AND  REREDOS  IN  THE  CHURCH  OF  THE  EPIPHANY,  WASHINGTON,  D.C. 


ALTAR  VIS'D  RKRKDOS  IN  ST.  PAUL’S  CHURCH,  WASHINGTON,  D.C. 


ST.  PAUL’S  CHURCH 


305 


ST.  PAUL’S  CHURCH,  WASHINGTON,  D.C. 

The  Reredos  was  erected  during  the  summer  of  1898  and  is  con- 
structed of  Caen  stoue  and  Tennessee  marble.  The  pillars  of  the 
arches  in  which  stand  the  statuettes  and  also  the  pillars  of  the  Altar 
supporting  the  mensa  are  of  alabaster.  In  the  Reredos  are  figures  of 
the  four  Evangelists,  and  at  each  end  larger  figures  of  St.  Peter  and 
St.  Paul.  The  passion  vine  adorns  the  central  arch,  and  on  the  Taber- 
nacle are  panels  of  grapes  and  wheat.  The  Reredos  is  a memorial  of 
Mrs.  Henry  Harding  Carter,  a benefactress  of  the  parish.  The  archi- 
tect and  builder  was  Mr.  R.  Geissler  of  New  York  City.  The  Altar 
is  a general  memorial  of  departed  communicants.  The  cost  of  the 
Altar  was  about  $1200,  and  of  the  Reredos  $1700. 


SOME  NOTABLE  ALTARS 


3°  6 


EMMANUEL  CHURCH,  BOSTON,  MASS. 

The  Altar  and  Reredos  were  erected  in  the  summer  of  1899. 
The  material  used  is  Caen  stone,  which  against  the  soft  gray  of  the 
Indiana  limestone  forming  the  walls  of  the  apse  is  extremely  effective. 
In  the  central  canopy  is  the  figure  of  Our  Lord,  with  hands  out- 
stretched. In  the  side  canopies  are  adoring  angels  in  a kneeling  atti- 
tude. The  bas-relief  below  represents  the  Lord’s  Supper.  As  we 
face  it  the  canopied  figures  on  the  right  are  St.  Mary  and  St.  John 
and  those  on  the  left  St.  Peter  and  St.  Martha.  Directly  over  the 
Altar  are  two  small  angels  bearing  a scroll  with  the  words,  “ Holy, 
Holy,  Holy,  Lord  God  Almighty.”  The  Altar  and  Reredos  were 
given  by  Mrs.  Winthrop  Sargent  as  a memorial  to  her  father  and 
mother,  Mr.  and  Mrs.  Benjamin  P.  Rotch,  and  their  son  and  daughter. 
This  work  of  art  was  designed  by  Mr.  Francis  R.  Allen  of  Boston  and 
the  erection  completed  by  John  Evans  and  Co.,  also  of  Boston. 
Mr.  Mora,  an  artist  in  their  employ,  modeled  the  figures.  The  cost  of 
the  Altar  and  Reredos  was  $10,000. 


ALTAR  AND  REREDOS  IN  EMMANUEL  CHURCH,  BOSTON,  MASS. 


ALTAR  AND  REREDOS  IN  THE  CHURCH  OF  THE  ADVENT,  BOSTON,  MASS. 


CHURCH  OF  THE  ADVENT 


3ii 


CHURCH  OF  THE  ADVENT,  BOSTON,  MASS. 

The  High  Altar,  with  the  lower  portion  of  the  Reredos,  including 
the  Crucifixion,  was  designed  by  Mr.  John  H.  Sturgis,  the  architect  of 
the  Church.  The  upper  part  of  the  Reredos,  with  the  open  tracery, 
was  designed  by  Mr.  Harold  Peto,  of  London.  The  Altar  and  Rere- 
dos were  put  in  at  different  times  and  were  the  gifts  of  Mrs.  Gardner 
in  memory  of  her  husband,  Mr.  John  Lowell  Gardner. 


312 


SOME  NOTABLE  ALTARS 


ALL  SAINTS’  CHURCH,  DORCHESTER,  MASS. 

The  Reredos  was  erected  in  1898  of  Caen  stone.  It  was  designed 
by  Cram,  Goodhue,  and  Ferguson  and  executed  by  John  Evans  and 
Co.,  of  Boston.  The  central  statue  is  Our  Lord,  blessing  his  Church, 
and  holding  the  orb  of  dominion.  On  the  right  of  Christ  is  St.  Michael 
the  Archangel  and  on  the  left  is  St.  Gabriel.  The  smaller  figures  rep- 
resent a scheme  of  Church  history,  Jewish  and  Christian.  They  are 
Aaron,  St.  John  the  Baptist,  David,  St.  Clement,  St.  Peter,  St.  Athana- 
sius, St.  Stephen,  St.  John  the  Evangelist,  St.  James  the  Less,  St.  Alban, 
St.  Paul,  and  St.  Columba.  The  designer  and  sculptor  of  the  fig- 
ures was  Mr.  Mora.  The  cost  of  the  Altar  and  Reredos  was  $11,000. 
They  are  in  memory  of  Colonel  Oliver  White  Peabody. 


ALTAR  AND  REREDOS  IN  ALL  SAINTS’  CHURCH,  DORCHESTER,  MASS. 


ALTAR  AND  REREDOS  IN  CHRIST  CHURCH,  NEW  HAVEN,  CONN. 


CHRIST  CHURCH 


30 


CHRIST  CHURCH,  NEW  HAVEN,  CONN. 

The  Altar  and  Reredos  were  completed  in  time  for  Christmas  Day, 
1906,  and  consecrated  at  a special  service  on  the  first  Sunday  after 
Epiphany,  January  13,  1907.  The  Altar  is  constructed  of  Knoxville 
marble  and  the  Reredos  of  Caen  stone.  The  central  subject  that 
stands  out  prominently  is  the  Crucifixion.  It  is  admirably  executed 
and  most  attractive.  The  face  of  Our  Lord  is  expressive  of  the  peace- 
fulness of  death  combined  with  the  confidence  and  majesty  of  one  who 
has  conquered.  On  either  side  of  the  cross  are  the  figures  of  the  Vir- 
gin Mother  and  St.  John.  At  the  foot  of  the  cross  is  a pelican  nourish- 
ing her  young  with  her  own  blood,  symbolizing  Christ  giving  his  life 
for  his  children.  Below  this,  under  a canopy,  is  depicted  the  Nativity, 
with  St.  Mary  and  St.  Joseph  adoring  the  holy  Child.  The  four  figures 
on  the  sides  of  the  Nativity  are  St.  John  the  Baptist,  St.  Stephen,  St. 
Anne,  and  St.  Elizabeth.  In  the  niches  at  the  top  of  the  cross  are  the 
four  angels,  St.  Michael,  St.  Uriel,  St.  Raphael,  and  St.  Gabriel.  The 
large  niches  on  the  sides  of  the  Reredos  contain  statues  of  St.  Atha- 
nasius, St.  John  Chrysostom,  St.  Augustine,  and  St.  Ambrose.  The 
large  figures  in  the  niches  in  the  wall  are  St.  Peter  and  St.  Paul.  On  the 
front  of  the  Altar  is  a relief  of  the  Entombment.  On  either  side  are 
angels  bearing  scrolls.  The  architect  of  the  work  was  Mr.  Henry 
Vaughan,  of  Boston,  and  the  builders  John  Evans  and  Co.,  of  the  same 
city.  This  artistic  work  was  not  a memorial  but  the  generous  gift  of 
Mrs.  Mary  E.  Ives,  who  made  it,  as  she  says,  “ expressive  of  the 
honor  and  glory  of  the  risen  Lord.” 


SOME  NOTABLE  ALTARS 


3*8 


CHURCH  OF  THE  HOLY  TRINITY,  MIDDLETOWN, 

CONN. 

The  Altar  was  erected  in  1890  by  Coxe  Sons  and  Vining  of  New 
York  City.  It  is  the  gift  of  Mrs.  Hugh  T.  Dickey,  formerly  of  Chi- 
cago, and  a sister  of  the  late  Rev.  James  De  Koven,  D.D.,  of  Racine. 
It  is  in  memory  of  her  two  sons.  The  Reredos  is  the  gift  of  the  same 
donor  in  memory  of  Judge  Dickey,  her  husband.  It  is  of  Caen  stone 
with  panels  of  white  marble  carved  to  illustrate  Moses  and  Elias  on 
each  side  of  the  central  panel  of  the  Crucifixion.  It  was  erected 
in  1894.  Mr.  J.  M.  Rhind  of  New  York  was  the  sculptor,  and  Mr. 
Haight  of  the  same  city,  the  architect. 


ALTAR  AND  REREDOS  IN  THE  CHURCH  OF  THE  HOLY  TRINITY, 
MIDDLETOWN,  CONN. 


ALTAR  AND  REREDOS  IN  GRACE  CHURCH,  WINDSOR,  CONN. 


GRACE  CHURCH 


323 


GRACE  CHURCH,  WINDSOR,  CONN. 

The  Altar  and  Reredos  were  erected  in  January,  1907,  and  blessed 
by  Bishop  Brewer,  January  31.  The  material  is  white  Carrara  mar- 
ble, slightly  veined,  relieved  by  small  columns  and  panels  of  yellow 
Siena  marble,  with  considerable  dark  veining.  The  three  picture 
panels  represent  the  Conversion  of  Cornelius,  the  first  army  officer  to 
enter  the  Church,  for  the  whole  is  a memorial  to  the  late  Colonel  John 
Mason  Loomis,  of  Chicago,  who  raised  and  commanded  the  Twenty- 
sixth  Illinois  Volunteer  Infantry  during  the  Civil  War.  On  the  left 
is  seen  the  Roman  Captain  kneeling,  with  the  angel  standing  over 
him.  Below  are  the  words:  “Thy  prayers  and  thine  alms  are  come  up 
for  a memorial  before  God.”  On  the  right  Cornelius  sits  and  St.  Peter 
stands,  proclaiming : “ He  that  feareth  God  and  worketh  righteousness 
is  accepted  with  him.”  The  mosaics  were  suggested  by  the  Rector  of 
the  parish,  the  Rev.  Dr.  Harriman.  They  are  as  follows : In  the 
centre  Christ  with  Cleopas  and  the  other  disciple  at  the  Supper  at 
Emmaus.  Inscribed  below  are  these  words  in  gilt  letters:  “He  was 
known  of  them  in  breaking  of  bread.”  The  side  pictures  above  are  of 
glass  mosaic,  made  in  London  by  Heaton,  Butler,  and  Bayne.  The 
pavement  of  small  mosaic  blocks  and  the  carved  steps  are  of  gray 
Knoxville,  Tennessee,  marble.  All  the  work  was  done  by  the  Gorham 
Co.  of  New  York  City,  and  their  designer  Mr.  Schweichart  made 
the  whole  plan.  The  cost  of  the  work  was  a little  over  $4000. 


324 


SOME  NOTABLE  ALTARS 


ST.  JOHN’S  CHURCH,  STAMFORD,  CONN. 

The  Altar  and  Reredos  were  erected  in  1890.  The  material 
used  is  Caen  stone.  The  lower  panels  of  the  Reredos  represent 
the  Agony  in  the  Garden  and  the  Entombment  of  Christ.  The  upper 
panels  portray  the  Crucifixion  and  the  Resurrection.  The  central 
compartment  indicates  the  Last  Supper.  Angels  and  Evangelists 
are  in  the  niches.  The  sculptor  was  James  Smith,  the  architect, 
William  A.  Potter,  and  Norcross  Bros,  the  builders. 


ALTAR  AND  REREDOS  IN  ST.  JOHN’S  CHURCH,  STAMFORD,  CONN. 


ALTAR  AND  REREDOS  IN  TRINITY  CHURCH,  TORRINGTON,  CONN. 


TRINITY  CHURCH 


329 


TRINITY  CHURCH,  TORRINGTON,  CONN. 

The  Altar  is  constructed  of  Caen  stone,  ornamented  with  polished 
marbles  and  inlaid  work.  It  is  nine  feet  long  and  two  and  one-half 
deep.  The  Reredos  is  of  the  same  stone  and  has  upon  the  riser  of  the 
Retable  the  words : “ Behold,  O God,  our  defender,  and  look  upon 
the  face  of  thine  anointed.”  In  the  central  niche  is  the  figure  of 
Our  Lord  in  the  attitude  of  invitation.  On  either  side  stand  St.  Mary 
and  St.  John,  flanked  at  either  end  by  St.  Gabriel,  bearing  the  lily 
of  the  annunciation  and  St.  Michael  with  the  sword  of  the  warrior. 
These  are  in  niches  with  detached  and  separating  shafts  of  polished 
marbles  of  varying  colors,  while  the  background  is  of  golden  Siena 
marble.  The  upper  part  of  the  Reredos  in  gabled  canopies  and 
carved  work  is  surmounted  by  carved  cornices  and  battlemented 
cresting,  flanked  by  turrets,  and  showing  a floriated  cross  in  the 
centre.  The  width  of  the  Reredos  is  ten  feet  and  the  height  from 
the  Sanctuary  floor  to  the  top  of  the  central  cross  is  sixteen  feet. 
As  a fitting  suggestion  of  the  service  of  the  Altar,  above  it  are 
painted  on  the  wall  kneeling  angels  in  robes  of  white  and  swinging 
golden  censers.  The  architect  was  Mr.  Henry  M.  Congdon  of  New 
York  and  the  builders  Peter  Theis’  Sons. 


330 


SOME  NOTABLE  ALTARS 


CHAPEL  OF  ST.  PAUL’S  SCHOOL,  CONCORD,  N.H. 

Erected  in  1894.  The  architect  was  Henry  Vaughan,  and  the 
builders  were  Irving  and  Casson,  of  Boston.  The  paintings  were  done 
by  Clayton  and  Bell,  of  London.  The  large  painting  directly  over 
the  Altar  represents  the  Adoration  of  the  Magi.  The  four  smaller 
ones  on  the  side  give  scenes  in  the  Nativity  of  Christ.  The  large 
pictures  to  the  right  and  left  indicate  the  Annunciation  to  the  Virgin 
Mary  and  the  Baptism  of  Our  Lord.  The  two  pictures  in  the  second 
row  are  the  Transfiguration  and  Resurrection  of  Christ.  The  carved 
figure  under  the  central  spire  of  the  Reredos  is  a seated  statue 
of  Christ  with  his  left  hand  resting  on  a globe  and  his  right  hand 
raised  in  benediction.  To  his  right  and  left  arranged  in  niches  are 
six  fathers  of  the  Church.  Six  smaller  figures  are  arranged  about  the 
Reredos,  who  represent  angels  bearing  shields  having  on  them  the 
emblems  of  the  Passion.  The  Altar  is  of  Tennessee  marble  and  is  a 
memorial  of  Mrs.  Richard  Conover,  of  South  Amboy.  It  cost  $1000. 
The  Reredos  is  of  oak  and  is  a memorial  to  the  eldest  son  of  Mr. 
Cornelius  Vanderbilt  and  was  erected  at  a cost  of  $15,000. 


ALTAR  AND  REREDOS  IN  THE  CHAPEL  OF  ST.  PAUL’S  SCHOOL,  CONCORD,  N.H. 


ALTAR  AND  REREDOS  IN  ST.  STEPHEN’S  CHURCH,  PROVIDENCE,  R.I. 


ST.  STEPHEN’S  CHURCH 


335 


ST.  STEPHEN’S  CHURCH,  PROVIDENCE,  R.I. 

This  large  Reredos  is  about  twenty  feet  high  and  is  divided  into 
seventeen  compartments  filled  with  a series  of  paintings.  Around  the 
whole  is  a carved  framework  of  pierced  foliage,  with  projecting  wings 
on  either  side  of  open  tracery.  The  Altar  and  Reredos  were  con- 
secrated on  St.  Stephen’s  Day,  1883,  by  the  Bishop  of  the  Diocese. 
The  sermon  was  preached  by  the  Rev.  Lucius  Waterman,  D.D.,  at 
that  time  a professor  in  the  Seabury  Divinity  School  at  Faribault, 
Minn.  This  work  of  art  was  erected  in  honor  of  a former  Rector,  as 
the  following  inscription  shows : — 

“This  Altar  and  Reredos 
are  consecrated  to 
the  greater  glory  of 
GOD 

in  grateful  remembrance  of 
Henry  Waterman, 

Priest  and  Doctor, 
who,  by  the  grace  given  him, 
restored  to  the  Church  in  Providence 
some  forfeited  treasures  of  primitive  piety, 
notably, 

the  Daily  Service  in  the  Season  of  Lent, 
and 

the  Weekly  Celebration  of  the 
Holy  Eucharist. 

It  was  given  him  also 
to  teach 

to  some  penitents  the  joy  of  Absolution 
and 

to  some  mourners  the  comfort  of  prayer 
for  the  faithful  dead. 

In  such  works 
of  restoration, 

which  could  not  but  trouble  some  quiet  hearts, 
he  himself  was  called  to  endure  grief  deeply, 
to  the  shortening  of  his  days 
for  JESUS’  sake. 

Think  upon  him,  my  GOD,  for  good 
according  to  all  that  he  hath  done 
for  this  people.” 


336 


SOME  NOTABLE  ALTARS 


Nine  years  later  the  work  was  completed  by  filling  the  panels  with 
paintings.  The  artist  of  these  designs  and  of  the  Tabernacle  was 
Mr.  Roger  Watts  of  the  firm  of  John  Hardman  and  Co.,  London. 
The  subjects  of  the  paintings  follow  a carefully  prepared  plan  as  indi- 
cated in  the  words  of  another,  who  says : “ The  whole  scheme  is  gov- 
erned by  the  principle  of  ancient  English  Church  symbolism,  that  the 
Chancel,  being  emblematic  of  the  Church  triumphant,  should  portray 
only  scenes  of  life  and  joy.  The  Rood  Screen  is  the  gate  of  death, 
and  so  there  should  be  depicted  the  Crucifixion.  With  this  idea, 
the  large  central  panel  of  the  Reredos,  dominating  the  entire  work, 
represents  Jesus  Christ  in  glory,  enthroned  as  King  of  Kings  and 
Lord  of  Lords.  He  wears  a splendid  crown,  from  which  rays  of  glory 
stream,  forming  a cross.  He  holds  the  orb  and  cross,  the  sceptre  of 
the  world.  On  his  breast  shine  the  letters  Alpha  and  Omega.  His 
throne  is  supported  by  four  archangels,  proclaiming  to  the  four 
quarters  of  the  universe  his  praise,  as  they  hear  the  legend  : ‘ Holy 
Holy,  Holy,  Lord  God  of  Sabaoth.’  Around  his  throne  bends  the 
rainbow.  Surrounding  him  is  a rosy  circle  of  angel  faces  — the  ser- 
aphs, on  fire  with  love.  Another  outer  circle  of  angels  with  azure 
wings  are  the  cherubs. 

“ On  the  Epistle  side  of  this  picture  is  the  Adoration  of  the  Magi, 
to  teach  us  of  the  Nativity  and  of  Christ’s  Manifestation  to  the 
Gentiles.  On  the  Gospel  side  is  the  Annunciation,  to  set  forth  the 
fact  of  the  Incarnation,  ‘ conceived  of  the  Holy  Ghost.’ 

“ In  the  central  panel  of  the  next  lower  tier  are  the  Madonna  and 
Child.  Around  the  Virgin’s  Throne  are  placed  four  figures  represent- 
ing Old  Testament  types  of  Mary,  the  second  Eve.  These  are  Eve, 
Judith,  Esther,  and  Rachel.  On  the  Epistle  side  of  the  Virgin  are  St. 
Paul,  closely  associated  with  the  introduction  of  Christianity  into  Britain, 
and  whose  conversion  has  always  been  believed  by  holy  men  to  have 
been  an  answer  to  St.  Stephen’s  dying  prayer  for  his  murderers ; then 
St.  Athanasius,  as  a great  champion  of  the  Catholic  faith,  treading 
under  his  feet  a scroll  marked  Arians,  and  then  St.  Chrysostom,  as 
representing  the  Greek  Church,  and  whose  name  is  so  familiar  to 
Anglicans  from  the  prayer  ascribed  to  him  in  the  Daily  Offices. 


ST.  STEPHEN’S  CHURCH 


337 


“ On  the  Gospel  side  of  the  Blessed  Virgin  is  St.  Stephen,  the  name 
saint  of  the  Church,  next  to  him  St.  Alban,  the  first  British  martyr, 
and  then  St.  Ambrose,  as  representing  the  Latin  Church,  and  whose 
name  has  always  been  traditionally  associated  with  the  Te  Deum. 
The  row  of  pictures  nearest  the  Altar  is  designed  to  teach  the  Resur- 
rection. The  front  of  the  Tabernacle  (made  in  London,  of  elabo- 
rately carved  oak,  richly  gilded)  is  supposed  to  be  the  door  of  the 
Sepulchre.  Here  is  a lovely  figure  of  the  Angel  of  the  Resurrection 
seated  on  the  stone.  From  the  Epistle  side  approach  the  three 
Marys,  Mary  Magdalene,  Mary,  the  wife  of  Cleophas,  and  Mary 
Salome,  with  their  boxes  of  sweet  spices,  while  on  the  Gospel  side 
are  St.  John,  St.  Peter,  and  St.  James.” 

The  final  additions  took  the  form  of  a separate  memorial,  as  ex- 
pressed in  the  following  inscription  : — 

“ The  Tabernacle 
and 

The  Paintings  of  the  Reredos 
are  consecrated 
to  the  greater  Glory  of  God 
and  in  loving  memory 
of 

Lyman  Klapp, 

sometime  Vestryman  of  this  Church 
who  entered  into  Rest 
Sept.  27th,  a.  d.  1889. 

Requiescat  in  pace." 

The  architect  of  the  Altar  and  Reredos  was  Mr.  Henry  Vaughan,  of 
Boston.  The  painted  panels  after  their  execution  in  London  were 
put  in  position  by  Irving  and  Casson,  also  of  Boston.  The  carving  of 
the  Reredos  was  executed  by  Evans  and  Tombs. 


SOME  NOTABLE  ALTARS 


o Jc 


ST.  PAUL’S  CHURCH,  CHATTANOOGA,  TENN. 

The  Altar  and  Reredos  were  erected  in  1886  at  the  completion  of 
the  Church.  The  architect  was  William  Halsey  Wood,  and  the 
builders  the  Endolithic  Marble  Co.,  of  New  York  City.  The  central 
figure  is  that  of  Christ  with  outstretched  arms  in  an  attitude  of  welcome. 
The  side  panels  represent  adoring  angels.  The  figures  are  painted 
and  burned  according  to  the  Endolithic  process.  The  Altar  and  Rere- 
dos are  in  memory  of  William  Wadley  Yonge,  who  was  a vestryman 
at  the  time  of  his  death  in  1885.  The  cost  was  $ 1800 . 


ALTAR  AND  REREDOS  IN  ST.  PAUL’S  CHURCH,  CHATTANOOGA,  TENN. 


ALTAR  AM)  REREDOS  JN  THE  CHURCH  OF  ST.  MICHAEL  AND  ALL  ANGELS,  ANNISTON,  ALA. 


CHURCH  OF  ST.  MICHAEL  AND  ALL  ANGELS  343 


CHURCH  OF  ST.  MICHAEL  AND  ALL  ANGELS, 
ANNISTON,  ALA. 

The  Altar  and  Reredos  were  consecrated  on  St.  Michael’s  and  All 
Angels’  Day,  1888.  The  Altar  is  of  Italian  marble  and  is  twelve  feet  six 
inches  long  by  two  feet  six  inches  wide.  The  Reredos  from  floor  to  pin- 
nacles is  built  of  English  alabaster.  In  the  central  niche  is  a figure  of 
St.  Michael  five  feet  high.  On  the  right  is  St.  Gabriel  and  on  the  left 
St.  Raphael.  These  two  latter  figures  are  four  feet  six  inches  high. 
Seven  figures,  also  of  alabaster,  crown  the  pinnacles.  These  are  four 
feet  high.  The  architect  was  Mr.  William  Halsey  Wood,  and  the 
builders,  Stewart  and  Hendry,  of  Newark,  N.J.  The  whole  Church, 
including  the  Altar  and  Reredos,  was  the  splendid  gift  of  John  W. 
Noble,  Esq.,  of  Anniston,  the  whole  being  a memorial  of  his  father  and 
brother.  The  cost  of  the  Altar  and  Reredos  was  $10,000. 


344 


SOME  NOTABLE  ALTARS 


ST.  LUKE’S  CHURCH,  SCRANTON,  PA. 

The  Altar  and  Reredos  were  completed  for  Easter  Day,  1905. 
The  architect  was  Mr.  Tiffany,  of  New  York,  and  the  builders,  the 
Whitman  Co.,  of  Philadelphia.  The  Altar  is  built  of  white  statu- 
ary marble,  and  the  Reredos  of  Caen  stone.  The  front  of  the  Altar 
has  three  panels,  the  central  one  representing  the  Ark  of  the 
Covenant,  with  the  outstretched  wings  of  the  cherubim  covering  the 
mercy-seat.  This  is  a reproduction  of  M.  Tissot’s  picture.  On  each 
side  panel  is  an  adoring  angel  with  upturned  face.  The  Reredos  has 
also  three  panels  with  figures  in  half  relief.  The  middle  one  represents 
the  Crucifixion  with  a grouping  of  St.  Mary,  St.  Joseph,  and  St.  Mary 
Magdalene.  The  left  panel  facing  the  east  represents  Melchizedek 
bringing  forth  bread  and  wine  and  blessing  Abraham,  pointing  to  that 
“ pure  offering  ” which  prophecy  declared  should  be  offered  to  the  Most 
High.  The  right  panel  contains  a representation  of  the  Supper  at 
Emmaus,  where  Our  Lord  made  himself  known  to  the  disciples  in  the 
breaking  of  bread.  These  panels  also  are  reproductions  of  the  pictures 
of  Tissot.  This  artistic  work  was  erected  by  the  Jermyn  family  as  a 
memorial  to  the  late  John  Jermyn,  who  was  Warden  of  the  parish  from 
1887  to  1889. 


ALTAR  AND  REREDOS  IN  ST.  LUKE’S  CHURCH,  SCRANTON,  PA. 


ALTAR  AND  REREDOS  IN  TRINITY  CHURCH,  GENEVA,  N.Y. 


TRINITY  CHURCH 


349 


TRINITY  CHURCH,  GENEVA,  N.Y. 

The  Altar  and  Reredos  were  erected  in  1906  and  consecrated  on 
All  Saints’  Day.  The  material  used  is  Caen  stone.  The  figures  on 
either  side  are  St.  Gabriel  and  St.  Michael.  The  architect  was  George 
T.  Pearson,  of  Philadelphia.  The  sculptors  and  builders  were  the 
J.  Franklin  Whitman  Co.  The  Reredos  is  a memorial  to  Bishop  Coxe 
and  the  Altar  to  Mr.  and  Mrs.  A.  M.  Patterson.  The  cost  was  $5250. 


350 


SOME  NOTABLE  ALTARS 


CHAPEL  OF  THE  CONVENT  OF  ST.  MARY, 
PEEKSKILL,  N.Y. 

The  Altar  and  Reredos  were  erected  in  1893  of  various  kinds  of 
marble.  The  central  statue  represents  the  Virgin  Mary  and  the  Holy 
Child.  On  the  south  side  in  niches  are:  1.  St.  Michael;  2.  Angel  of 
the  Passion,  with  instruments  of  the  Passion ; 3.  Angel  of  Praise  with 
Censer.  On  the  north  side  are:  1.  St.  Gabriel;  2.  Angel  of  the 
Passion;  3.  Angel  of  Praise.  The  architect  was  Henry  M.  Congdon, 
of  New  York.  The  sculptor  was  Joseph  Sibbel.  The  cost  was 
about  $7000. 


ALTAR  AND  REREDOS  IN  THE  CHAPEL  OF  THE  CONVENT  OF  ST.  MARY,  PEEKSKILL,  N.Y. 


■'  V 


ALTAR  IN  THE  CHURCH  OF  THE  ASCENSION,  CHICAGO,  ILL. 


CHURCH  OF  THE  ASCENSION 


355 


CHURCH  OF  THE  ASCENSION,  CHICAGO,  ILL. 

The  present  High  Altar  of  the  Church  of  the  Ascension,  Chicago, 
was  erected  in  1893.  It  is  the  gift  of  Mrs.  Alice  Lord  Wheeler,  since 
deceased,  and  was  placed  in  the  Church  as  a memorial  of  her  father, 
Mr.  Gilderoy  Lord,  of  Watertown,  N.Y.  The  Altar  was  designed 
by  Edward  J.  N.  Stent,  of  New  York.  Vermont  statuary  marble  was 
used  in  its  construction,  the  mensa  being  a single  slab  of  eleven  feet 
in  length.  For  the  more  delicate  carving,  such  as  the  capitals  of 
the  pillars  and  the  ornamentation  of  the  canopy,  Carrara  marble  was 
used.  The  pillars  themselves  are  of  Mexican  onyx.  The  two  angels 
are  of  alabaster  and  were  made  in  Southwark,  London.  The  mosaics 
of  the  Tabernacle  door,  and  of  the  panels  in  the  face  of  the  Altar, 
are  from  the  works  of  Salviati  in  Venice. 


356 


SOME  NOTABLE  ALTARS 


CHAPEL  OF  THE  CONVENT  OF  THE  NATIVITY, 
FOND  DU  LAC,  WIS. 

The  Altar  and  Reredos  were  erected  in  1906,  and  are  constructed 
of  quartered  white  oak.  In  the  Reredos  are  five  carved  figures.  The 
central  one  is  that  of  Christ  in  the  attitude  of  the  Teacher.  On  his 
one  hand  are  St.  Hilda  and  St.  Mary  the  Penitent,  and  on  the  other, 
St.  Catherine  of  Siena  and  St.  Martha.  The  cost  was  $3000.  The 
designers  and  builders  were  the  American  Seating  Co.,  of  Manitowoc, 
Wis. 


ALTAR  AND  REREDOS  IN  THE  CONVENT  OF  THE  NATIVITY,  FOND  DU  LAC,  WIS. 


mmm 


ALTAR  ANI)  RKREDOS  IN  ST.  MARY’S  CHURCH,  KANSAS  CITY,  MO. 


ST.  MARY’S  CHURCH 


361 


ST.  MARY’S  CHURCH,  KANSAS  CITY,  MO. 

The  Altar  and  Reredos  were  erected  in  1887  of  white  marble 
richly  colored.  The  decoration  is  known  as  Endolithic  work.  The 
stone  is  heated  and  the  colors  applied,  which  sink  in,  for  the  most  part, 
through  the  whole  thickness.  It  is  a patent  process,  not  now  on  the 
market.  The  four  figures  in  the  Reredos  represent  St.  John  the  Evan- 
gelist and  St.  Anna  on  the  Epistle  side  and  St.  Joseph  and  St.  Eliza- 
beth on  the  Gospel  side.  This  work  of  art  is  a memorial  to  the  Rev. 
Henry  David  Jardine,  who  was  for  some  time  the  Rector  of  the  parish. 
He  died  January  10,  1886. 

The  following  inscriptions  are  on  the  Altar : — 

On  the  base  of  the  Reredos:  “ benedictus  fructus  ventris  tui.” 

Above  the  panel:  “benedicta  tu  in  mulieribus.” 

On  the  base  of  the  Altar : “ in  honorem  beata  mariae  virginis  : ad 

GLORIAM  DEI : IN  MEMORIAM  HENRICA  DAVIDIS,  SACERDOTIS.” 

The  design  of  the  door  of  the  Tabernacle  of  the  Altar  is  taken 
from  the  Catacomb  of  St.  Pontineus  at  Rome.  It  represents  a jeweled 
cross  beautified  with  a rose  of  Sharon  on  each  side. 

The  following  description  is  given  by  Caryl  Coleman,  the  de- 
signer of  the  Altar : — 

“ The  central  panel  of  the  Altar  is  intended  to  illustrate  the  text 
of  Scripture,  ‘ Blessed  art  thou  among  women.’  The  Holy  Mother  is 
the  central  figure,  enthroned  as  the  queen  of  womanhood,  and  holding 
upon  her  knees  her  Divine  Son,  through  whom  she  has  a right  to  her 
position  in  the  scheme  of  Christ’s  redemption.  On  her  right,  kneeling, 
is  the  virgin  martyr,  St.  Agnes.  Behind  her,  St.  Theresa  (who,  al- 
though a woman,  holds  the  rank  of  a Doctor  in  the  Church),  a virgin, 
a religious,  and  a reformer.  At  her  side  and  upon  her  knees  is  the 
figure  of  St.  Catherine  of  Siena,  one  whose  life  carried  out  the  com- 
bined qualities  displayed  in  the  lives  of  Martha  and  Mary.  Behind 
her,  and  standing  up,  is  the  figure  of  St.  Mary  Magdalene  de  Pazzi, 
a recluse  and  contemplative.  On  the  left  of  the  Blessed  Virgin,  and 
kneeling  at  her  feet,  worshiping  her  Divine  Son,  is  represented  the 


362  SOME  NOTABLE  ALTARS 

chief  of  penitents,  St.  Mary  Magdalene.  Behind  her  and  standing,  the 
figure  of  St.  Bridget  of  Sweden,  a saintly  and  holy  widow,  whose 
prayers  reached  the  highest  point  of  union  with  God.  At  her  side 
and  upon  her  knees,  St.  Elizabeth  of  Hungary,  the  saint  who  has  a 
right  to  three  crowns,  as  she  represented  three  lives,  the  virgin,  the 
wife,  and  the  widow.  Behind  her  and  standing  up,  with  head  bowed, 
in  all  humility,  that  most  wonderful  of  all  penitents,  St.  Margaret  of 
Cortona.  The  background  is  composed  of  flowers,  symbolical  of  the 
various  states  of  life  represented  in  the  panel.  The  idea  was  to  gather 
in  this  panel  women  of  every  nation,  to  show  the  broadness  of  Catho- 
licity, and  that  all  women  were  to  choose  the  Holy  Mother  as  their 
model.  As  we  go  over  the  names  we  note  a Hebrew,  a Roman,  a 
Spaniard,  a Swede,  a German,  and  an  Italian.  All  the  personages 
represented  are  treated  in  their  proper  religious  habits  and  symbolic 
colors;  St.  Theresa  is  habited  in  the  Carmelite  costume,  St.  Margaret 
of  Cortona  in  the  Franciscan,  St.  Bridget  of  Sweden  in  the  habit  of  the 
order  of  Sion,  while  St.  Elizabeth  of  Hungary  is  in  her  princely  garb. 
Those  who  were  married  are  without  the  virgin’s  wreath  but  wear  the 
marriage  veil ; St.  Mary  Magdalene,  neither  crowned  nor  veiled,  is  yet, 
as  she  always  appears  to  us  in  Holy  Scripture,  at  the  feet  of  Jesus.” 


ALTAR  AND  REREDOS  IN  GRACE  CHURCH,  UTICA,  NEW  YORK 


GRACE  CHURCH 


365 


GRACE  CHURCH,  UTICA,  N.Y. 

The  Chancel  was  rebuilt  and  enlarged  about  the  year  1890.  The 
younger  Upjohn  of  New  York  was  the  architect,  as  his  father  had  been 
the  original  architect  of  the  whole  church.  The  late  John  F.  Hughes, 
of  Utica,  was  the  contractor. 

The  exterior  of  the  Chancel,  like  the  Church,  is  of  gray  sandstone 
with  white  limestone  trimmings.  The  window  trimmings,  tracery,  and 
large  chancel  arch,  also  the  niched  wainscot  inside,  are  of  Indiana 
limestone.  There  is  a barrel-vaulted  ceiling  of  Georgia  pine. 

The  ends  of  the  roof  beams  are  carved  singing  angels,  the  corbels 
of  the  Chancel  arch  are  praying  angels,  the  capitals  of  the  columns 
represent  different  sorts  of  foliage.  The  panels  of  the  stone  wainscot 
are  incised  with  a conventional  diapering  of  different  designs. 

The  Reredos  and  Altar  are  of  Caen  stone.  The  conventional 
work,  designed  by  Upjohn,  was  executed  by  Karl  Bitter.  The  large 
central  panel  represents  the  Ascension,  after  the  idea  of  Dore’s  paint- 
ing of  the  same  subject. 

The  whole  Chancel,  including  Altar,  windows,  and  Reredos,  was 
designed  to  be  a memorial  to  Alfred  and  Elizabeth  Munson,  Samuel 
Alfred  Munson,  and  James  Watson  Williams,  the  parents,  brother,  and 
husband  of  Helen  Elizabeth  Munson  Williams.  As  her  death  oc- 
curred during  the  progress  of  the  work,  her  daughters  agreed  to  build 
it  and  join  their  mother’s  name  with  the  others  commemorated. 

The  six  mosaic  panels  were  made  by  Pellarin,  of  New  York,  the 
mosaic  being  made  on  purpose  for  the  designs,  in  Italy.  They  repre- 
sent on  each  side  furthest  from  the  Altar  the  Rose  of  Sharon,  the  next 
two  panels  represent  the  Passion  Flower,  and  the  two  nearest  the 
Altar  represent  the  Vine.  They  also  are  a memorial  to  Helen  Eliza- 
beth Munson  Williams,  and  to  all  those  in  the  church  not  otherwise 
remembered. 


366 


SOME  NOTABLE  ALTARS 


ST.  JOHN’S  AMERICAN  EPISCOPAL  CHURCH, 
DRESDEN,  GERMANY 

This  Church  was  erected  and  beautified  chiefly  by  the  American 
residents  of  Dresden.  The  Altar,  Font,  and  Pulpit  were  the  gifts  of 
Mrs.  J.  E.  Thompson,  of  St.  Paul,  Minn.,  and  were  given  in  mem- 
ory of  her  husband,  while  she  was  a resident  of  Dresden.  All  the 
marble  work  is  of  the  finest  Italian  quality.  The  front  of  the  Altar 
represents  the  Last  Supper,  and  is  a work  of  art.  The  chief  decora- 
tion of  the  Reredos  is  a Crucifixion  scene  finely  executed  in  marble. 
The  three  gifts  footed  up  the  sum  of  $7000. 


ALTAR  AND  REREDOS  IN  ST.  JOHN’S  AMERICAN  CHURCH,  DRESDEN,  GERMANY 


SILVER  ALTAR  IN  THE  LADY  CHAPEL  OF  ST.  MARK'S  CHURCH,  PHILADELPHIA,  PA. 


ST.  MARK’S  CHURCH 


37 1 


SILVER  ALTAR  IN  THE  LADY  CHAPEL  OF  ST. 
MARK’S  CHURCH,  PHILADELPHIA,  PA. 

The  following  description  is  taken  from  a pamphlet  bearing  the 
imprint  of  Barkentin  and  Krall,  Regent  Street,  London  : “ Visitors  to 
Florence  will  recall,  amongst  the  treasures  of  that  great  treasury  of 
all  the  arts,  the  superb  silver  Altar  which  is  now  exhibited  in  the 
Museum  of  the  Cathedral,  and  which  is,  or  rather  was,  carried  year  by 
year  to  the  Baptistery  of  the  Cathedral,  to  be  used  on  the  Feast  of 
St.  John  the  Baptist.  Since  Ant.  Pallajuolo  (1429-98)  and  his  brother 
artists  designed  and  made  that  celebrated  Altar,  nothing,  so  far  as  we 
know,  has  been  produced  at  all  approaching  it  in  elaborate  magnifi- 
cence, until  the  present  time,  when  Mr.  Krall,  and  the  artists  and  crafts- 
men associated  with  him,  have  made  the  Altar  for  the  Lady  Chapel  of 
St.  Mark’s,  Philadelphia.  It  will  add  to  the  interest  of  those  who  visit 
St.  Mark’s,  as  well  as  of  those  who  are  accustomed  to  worship  there, 
to  have  at  hand  some  description  of  the  construction,  the  arrange- 
ment, and  iconography  of  this  very  splendid  piece  of  modern  ecclesi- 
astical art. 

“ The  Altar,  seven  feet  in  length  by  two  feet  in  depth,  and  three 
feet  three  inches  in  height,  consists  of  a mensa  or  slab,  in  one  piece 
of  gray  and  black  Irish  marble,  supported  on  a frame  of  solid  silver, 
backed  by  wood.  The  original  idea  was  to  provide  simply  a movable 
frontal  to  the  existing  alabaster  Altar,  to  be  used  only  on  Feasts  of 
Our  Lady.  But  as  the  work  proceeded  and  grew  in  elaboration,  it 
was  felt  that  to  move  so  fine  a piece  of  work  to  and  fro,  several  times 
in  the  course  of  every  year,  would  be  to  expose  it  to  great  risk  of 
damage.  It  was  therefore  determined  to  make  the  whole  Altar — with 
the  exception,  of  course,  of  the  mensa  — of  silver,  and  to  fix  it  perma- 
nently in  its  place.  This  has  now  been  accomplished. 

“ The  ends  of  the  Altar  are  comparatively  plain.  Each  is  divided 
into  four  panels,  with  moulded  framing,  and  the  panels  are  filled 
with  simple  designs  in  leaf  work.  The  front  of  the  Altar  strikes  the 
spectator  at  once  by  its  extreme  richness,  and  by  the  enormous  quantity 


372 


SOME  NOTABLE  ALTARS 


of  figure-design  that  has  been  lavished  upon  its  limited  space.  Eight 
scarf-columns  project  from  the  front  surface  to  serve  as  supports  for 
the  mensa,  and  these  columns  divide  the  whole  surface  into  seven  spaces. 
Six  of  these  spaces  are  further  divided  at  half  their  height  by  a band. 
The  seventh  space  — the  central  and  somewhat  larger  space  — is  left 
undivided,  and  is  filled  by  a niche.  Compound  twisted  columns,  with 
carved  and  jeweled  bases  and  capitals,  carry  the  richly  cusped  arch  of 
the  canopy  of  the  niche ; the  spandrils  above  this  arch  are  filled  with 
open-work  foliage,  and  the  point  of  the  arch  is  surmounted  by  a flori- 
ated crown.  A diaper  of  fleur-de-lys,  on  a ground  of  pale  blue  enamel, 
covers  the  back  of  the  niche.  Within  this  niche  stands  a stately  figure 
of  Mary,  holding  in  her  arms  her  Child.  The  Holy  Child  grasps  with 
one  hand  his  Mother’s  robe;  in  the  other  he  holds  the  orb  of  the 
world.  It  is  a singularly  lifelike,  childlike,  happy  figure.  The  figure 
of  the  Mother  is  full  of  dignity,  and  especially  noteworthy  for  the 
beauty  of  its  finely  modeled  drapery.  The  twelve  panels,  which,  with 
the  exception  of  the  niche,  occupy  the  whole  of-  the  front,  measure 
each  of  them  seven  inches  by  eleven  and  one-fourth  inches.  They 
are  filled  with  subjects  from  the  life  of  the  Blessed  Virgin.  The  series 
begins  on  the  extreme  left  of  the  upper  row. 

“ i.  The  Angel's  Message  to  St.  Anne. 

St.  Anne,  the  wife  of  Joachim,  kneeling  at  a prayer-desk, 
receives  from  an  angel  the  glad  tidings  that  she  will  have  a 
daughter,  who  shall  bring  forth  the  Saviour  of  the  world. 

“ On  the  same  level,  to  the  right,  we  have  — 

“ 2.  The  Birth  of  Mary. 

St.  Anne  is  seen  on  a couch  in  the  background.  In  the 
foreground  are  three  friends,  who  are  ministering  to  her  child. 
“ On  the  right  of  this  panel  — 

“ 3.  Mary  s Presentation  in  the  Temple. 

Mary,  in  her  girlhood,  is  seen  ascending  the  steps  of  the 
Temple,  to  which  she  has  been  led  by  her  father  and  mother. 
In  the  background  are  the  courts  of  the  Temple,  and  beyond 
the  courts  a glimpse  of  the  Mount  of  Olives. 

“ The  series  is  now  continued  in  the  left  panel  of  the  lower  row. 


ST.  MARK’S  CHURCH 


373 


4.  The  Espousal  of  Mary  and  Joseph. 

In  the  presence  of  the  Priest  and  several  witnesses,  Mary 
is  betrothed  to  St.  Joseph.  A rose  in  full  bloom  stands  in 
the  foreground. 

5.  The  Annunciation. 

Mary,  kneeling  at  a richly  carved  prayer-desk,  and  with  her 
arms  crossed  upon  her  breast,  turns  towards  the  angel  who 
kneels  near  her  and  is  holding  a lily  in  her  hand.  The  holy 
Dove  hovers  above  Mary’s  head.  An  arcade  encloses  the 
figures,  and  through  the  arches  of  the  arcade  the  trees  of  a 
garden  are  seen. 

6.  The  Visitation. 

Mary  and  St.  Elizabeth  meet  and  embrace  in  the  garden 
of  St.  Elizabeth’s  house.  Three  women  stand  by,  gazing 
sympathetically  at  the  scene.  Returning  to  the  upper  row 
of  subjects,  we  have,  in  the  panel  to  the  right  of  the 
niche,  — 

7.  The  Visit  of  the  Shepherds  to  Bethlehem. 

In  a stable  thatched  with  straw,  our  Lady  is  seated  with  the 
divine  Infant  on  her  lap.  St.  Joseph  is  watching  over  her, 
and  the  shepherds  have  come  to  worship  the  new-born  Saviour. 
One  of  them,  his  dog  by  his  side,  is  kneeling  with  folded 
hands,  and  gazes  at  the  Child. 

To  the  right  of  this  we  have  — 

8.  The  Flight  into  Egypt. 

Mary,  seated  upon  an  ass,  holds  with  both  arms  her  Child. 
St.  Joseph,  carrying  provision  for  the  way,  leads  the  ass.  In 
the  background  an  angel  holds  up  a veil  to  screen  the  Holy 
Family  from  their  pursuers. 

9.  The  Finding  in  the  Temple. 

The  Child  Jesus  is  seated  on  the  steps  inside  the  Temple. 
A large  book  rests  upon  his  knees,  and  other  books  lie  about 
him.  The  aged  priests  and  scribes  in  the  background  con- 
verse, wondering  at  the  Child’s  questions.  Mary,  in  trouble, 
expostulates,  ‘ Son,  why  hast  thou  thus  dealt  with  us  ? ’ and 


374 


SOME  NOTABLE  ALTARS 


he  is  answering,  ‘Wist  ye  not  that  I must  be  about  my 
Father’s  business  ? ’ 

“ The  series  is  now  continued  at  the  lower  level,  where  in  the  panel 
on  the  right  of  the  niche  we  have  — 

“ io.  The  Miracle  at  Cana. 

In  the  front  is  the  figure  of  the  Lord ; his  hands  are  raised 
to  bless  the  water  that  a servant  is  pouring  into  the  great  jars. 
Mary  waits  and  watches.  In  the  background  the  marriage 
feast  is  proceeding. 

“ 1 1 . At  the  Foot  of  the  Cross. 

Mary  and  the  holy  women  sit  supporting  the  lifeless  body 
of  the  Lord,  which  has  been  lowered  from  the  Cross.  In  the 
background  the  Cross  is  seen,  and  two  angels  are  bending 
over  the  sorrowing  group  in  worship. 

“ 12.  The  Coronation  of  Our  Blessed  Lady. 

This  is  the  climax  of  the  whole  series.  The  Lord  Jesus 
receives  his  Blessed  Mother  unto  himself,  that  ‘ where  he  is, 
she  may  be  also  ’ : and  he  crowns  her  faithfulness  with  ‘ a 
crown  of  glory  that  fadeth  not  away.’  — St.  John  xiv.  3; 
Rev.  ii.  10;  St.  Peter  v.  4. 

“ The  eight  half-columns  which  support  the  Altar  slab  form  a frame 
of  extraordinary  richness  to  these  panels;  each  half-column  carries  on 
its  face  eighteen  small  niches,  arranged  in  sets  of  three,  one  above  the 
other,  and  in  every  niche  is  the  figure  of  a saint  in  complete  relief. 
These  figures,  144  in  number,  have  been  separately  modeled;  they 
bear  their  characteristic  emblems,  and  their  names.  The  capitals  of 
the  columns  contain,  each  of  them,  a group  of  three  kneeling  angels, 
some  with  hands  clasped  in  prayer,  and  some  with  musical  instruments. 
A rich  band  of  foliage  and  scroll  work,  in  deep  relief,  connects  the 
capitals,  and  forms  a supporting  cornice  for  the  mensa.  Lines  of  roses 
with  jeweled  centres  divide  the  lower  from  the  upper  row  of  subjects, 
and  each  subject  from  the  cornice  and  the  plinth. 

“The  144  figures  in  the  niches  of  the  columns  are  arranged,  with 
one  or  two  slight  dislocations,  chronologically,  beginning  at  the  ex- 
treme right  at  the  top  with  Adam,  and  proceeding  downwards  through 


ST.  MARK’S  CHURCH 


375 


the  outer  line  of  figures.  From  the  lowest  figure  of  each  line,  we  re- 
turn to  the  highest  figure  of  the  next  line  to  the  left,  and  so  on.  Fol- 
lowing in  consecutive  order,  the  little  figures  represent  the  saints  of 
the  Old  Testament,  and  the  Major  and  Minor  Prophets,  passing  on 
into  the  saints  of  the  Catholic  Church:  but  the  strict  sequence  is  in- 
terrupted in  order  that  the  saints  and  angels  of  the  New  Testament 
may  stand  on  either  side  of  the  central  figure.  Then  follow  the  con- 
fessors and  martyrs ; holy  men  and  women  of  the  later  time ; the  great 
doctors  of  the  Western  Church  and  of  the  Eastern  Church;  the  lesser 
theologians  ; the  founders  of  religious  orders,  and  the  more  conspicuous 
of  the  British  missionary  saints  and  martyrs. 

“ The  composition  as  a whole,  in  spite  of  its  infinity  of  detail,  is  yet 
a unity,  and  singularly  compact  and  harmonious  in  effect.  Over  400 
jewels  are  distributed  over  the  work:  they  are,  however,  so  carefully 
placed  that  nowhere  do  they  draw  off  attention  to  themselves,  but  are 
felt  to  add  a subtle  refinement  and  variety  to  the  light  and  color  which 
play  so  delightfully  over  the  whole  surface. 

“ When  we  consider  how  many  hundreds  of  figures,  in  high  and  low 
relief,  there  are;  the  interest,  variety,  and  beauty  of  the  arrangement 
and  modeling  of  these  figures;  the  wealth  of  varied  design  in  the  deco- 
rative parts ; we  cannot  but  feel  that  the  greatest  praise  is  due  to  all 
concerned  in  the  production  of  this  remarkable  Altar  — artists,  de- 
signers, and  craftsmen.  They  have  achieved  a monumental  work 
which  does  the  greatest  credit  to  them  all,  and  which  will  remain  as  a 
very  splendid  and  very  delightful  presentation  of  twentieth-century 
English  Ecclesiastical  Art. 

“ The  figures  in  the  niches  of  the  columns  are  grouped  in  the  fol- 
lowing order,  reading  from  the  right  to  the  left : — 


I 


Aaron 

Sarah 

Adam 

Joshua 

Melchizedek 

Eve 

Samuel 

Isaac 

Abel 

David 

Jacob 

Enoch 

Hezekiah 

Joseph 

Noah 

Elijah 

Moses 

Abraham 

SOME  NOTABLE  ALTARS 


376 

Nahum 
Habakkuk 
Zephaniah 
Haggai 
Zechariah 
Malachi 


St.  Athanasius 
St.  Chrysostom 
St.  Basil 

St.  Gregory  Naz. 
Dionysius  Areop. 

St.  John  of  Damascus 


St.  Michael 

St.  Joseph 

St.  Joachim 

St.  Simon  of  Cyrene 

St.  Veronica 

St.  Longinus 


St.  John  Baptist 
Zacharias 
St.  Elizabeth 
St.  Simeon 
St.  Anna 
St.  Lazarus 


St.  Alban 
St.  Denys 
St.  George 
St.  Nicholas 
St.  Perpetua 
St.  Cecilia 


II 

Hosea 

Joel 

Amos 

Obadiah 

Jonah 

Micah 

III 

St.  Irenseus 

St.  Hilary 

St.  Ambrose 

St.  Augustine  of  Hippo 

St.  Jerome 

St.  Gregory  the  Great 

IV 

St.  Peter 

St.  Andrew 

St.  James-the-Less 

St.  Simon 

St.  Thaddeus 

St.  Matthias 

V 

St.  John  Ap. 

St.  James-the-Great 
St.  Philip 
St.  Bartholomew 
St.  Thomas 
St.  Matthew 

VI 

St.  Ignatius  M. 

St.  Polycarp 
St.  Clement  Rom. 

St.  Laurence 
St.  Sebastian 
St.  Vincent 


Elisha 

[Judas  Maccabseus] 

Isaiah 

Jeremiah 

Ezekiel 

Daniel 


St.  Matthew 
St.  Mark 
St.  Luke 
St.  John 
St.  Justin  M. 
St.  Cyprian 


St.  Joseph  Arimath. 

St.  Stephen 

St.  Paul 

St.  Barnabas 

St.  Jude 

St.  Timothy 


St.  Gabriel 
St.  Raphael 
St.  Anne 

St.  Mary  Magdalene 

St.  Martha 

St.  Mary  of  Bethany 


St.  Clement  Alex. 

St.  Cyril  of  Jerusalem 
St.  Anselm 
St.  Bernard 
St.  Bonaventure 
St.  Thomas  Aquinas 


ST.  MARK’S  CHURCH 


377 


St.  Monica 
St.  Giles 

St.  Augustin  Cant. 
St.  Patrick 
St.  David 
St.  Chad 


St.  Robert  of  Cit. 

St.  Bruno 

St.  Gilbert 

St.  Francis  of  Assisi 

St.  Clare 

St.  Dominic 


VII 

St.  Catherine 

St.  Boniface 

St.  Edmund  K.  & M. 

St.  Edward  the  Conf. 

St.  Alphege 

St.  Martin 

VIII 

St.  Helen 

St.  Cuthbert 

St.  Oswald 

St.  Thomas  of  Cant. 

St.  Anthony 

St.  Benedict 


St.  Agnes 
St.  Agatha 
St.  Lucy 
St.  Prisca 
St.  Faith 
St.  Margaret 


St.  Etheldreda 
V.  Bede 
St.  Swithun 
St.  Dunstan 
St.  Edmund  Abp. 
St.  Hugh.” 


This  Altar  as  well  as  the  Chapel  in  which  it  is  placed  is  a memo- 
rial to  the  late  Mrs.  Rodman  Wanamaker,  given  by  her  husband. 


37§ 


SOME  NOTABLE  ALTARS 


CHURCH  OF  ST.  JOHN  THE  EVANGELIST,  ST.  PAUL, 

MINN. 

The  Altar  and  Reredos  were  built  and  furnished  in  1906,  of  quar- 
tered oak.  The  central  compartment  contains  a representation  of  the 
Last  Supper  after  Leonardo  Da  Vinci.  The  figures  on  the  right  and 
left  indicate  adoring  angels.  The  work  was  designed  and  built  by  the 
American  Seating  Company  in  their  Manitowoc  Wisconsin  shops. 
The  cost  was  about  $2500.  The  Altar  and  Reredos  are  Memorials 
to  the  late  Mrs.  Fanny  S.  Wilder  of  St.  Paul. 


ALTAR  AND  REREDOS  IN  THE  CHURCH  OF  ST.  JOHN  THE 
EVANGELIST,  ST.  PAUL,  MINN. 


INDEX 


Aldenham,  Lord,  45;  quoted,  46. 

Allen,  F.  R.,  306. 

All  Saints’  Cathedral,  Milwaukee,  239. 

All  Saints’  Church,  Evesham,  221 ; Richard’s  Castle, 
227;  Dorchester,  312. 

American  Seating  Company,  356. 

Armstead,  H.,  74. 

Atkinson  and  Mylhertz,  2S8. 

Aumonier,  W.,  156. 

Bacon  Bros.,  122. 

Bailey  and  Bassett,  278. 

Beall,  R.  S.,  62. 

Beverley  Minster,  161. 

Bitter,  K.,  365. 

Blashfield,  E.  H.,  283. 

Blomfield,  Sir  A.  W.,  102,  in. 

Bodley,  Sir  G.  F.,  55,  85,  92,  115,  181. 

Bodley  and  Garner,  66,  79. 

Borgia  Bros.,  254. 

Boulton,  R.  L.,  40,  221. 

Boulton  and  Sons,  15 1. 

Bridgeman,  H.,  85,  181. 

Bridges,  Mr.,  215. 

Brielmaier  and  Sons,  239. 

Brightman,  Rev.  F.  E.,  quoted,  134. 

Brindley,  Mr.,  55. 

Bristol  Cathedral,  50. 

Buckeridge,  C.  E.,  106,  227. 

Buckeridge  and  Floyce,  in. 

Bucknall  and  Comper,  116. 

Burford  Church,  203. 

Burlison  and  Grylls,  122. 

Cappelli,  E.,  27S. 

Cathedral  of  St.  Alban,  45;  St.  John  the  Divine, 
New  York,  233;  Quincy,  111.,  240;  St.  Nich- 
olas, Newcastle-on-Tyne,  62. 

Chapel  of  All  Souls’  College,  Oxford,  133;  Chelten- 
ham College,  15 1;  Jesus  College,  Oxford,  128; 
Marlborough  College,  127;  Magdalen  College, 
134;  New  College,  139;  St.  John’s  College, 
Hurstpierpont,  145;  Winchester  College,  140; 
St.  Paul’s  School,  Concord,  330. 

Chester  Cathedral,  49. 

Chichester  Cathedral,  61. 

Christ  Church,  Bristol,  186;  Reading,  228;  New 
Haven,  317. 

Christ  Church  Cathedral,  Oxford,  55 ; Louisville,  234. 


Christ  Church  Triory,  170. 

Church  of  the  Advent,  Boston,  311 ; Ascension, 
Chicago,  355;  Epiphany,  Washington,  300; 
Holy  Redeemer,  London,  86;  Holy  Trinity, 
Middletown,  318;  Incarnation,  New  York,  260; 
the  Saviour,  Philadelphia,  283;  St.  Alban,  Lon- 
don, 79;  St.  John  the  Divine,  London,  91; 
St.  Edward  the  Martyr,  New  York,  265; 
St.  Ignatius,  New  York,  259;  St.  Mary 
Magdalene,  Elmstone,  182;  St.  Michael  and 
All  Angels,  Anniston,  343;  Transfiguration, 
254;  Zion  and  St.  Timothy,  New  York,  266; 
St.  John  the  Evangelist,  St.  Paul,  378. 
Champneys,  B.,  34. 

Chandler,  T.  P.,  294. 

Clarke,  S.,  61. 

Clayton  and  Bell,  209,  330. 

Coleman,  C.,  361. 

Congdon,  IT.  M.,  234,  299,  329,  350. 

Convent  of  St.  Margaret,  East  Grinstead,  175;  St. 

Mary,  Peekskill,  350;  Nativity,  Fond  du  Lac,  356. 
Cottingham,  Jr.,  Mr.,  40. 

Cottingham,  I..  N.,  134. 

Coxe  Sons  and  Vining,  318. 

Cram,  Goodhue,  and  Ferguson,  244,  272,  312. 
Davison,  R.,  39. 

Durham  Cathedral,  56. 

Earp,  Mr.,  197. 

Earp  and  Plobbs,  175,  198. 

Eden,  Rev.  R.  A.,  quoted,  III. 

Ellin  and  Kitson,  250,  253. 

Elwell,  Mr.,  96. 

Ely  Cathedral,  3. 

Emmanuel  Church,  Boston,  306. 

Endolithic  Marble  Co.,  338,  361. 

Evans  and  Co.,  260,  306,  312,  317. 

Evans  and  Tombs,  337. 

Exeter  Cathedral,  13. 

Farmer  and  Brindley,  2,  8,  25,  33,  49,  79,  91,  96, 
121,  139. 

Field,  Mr.,  7. 

Fisher,  R.  C.,  271. 

Fisher  and  Bird,  259. 

Forsythe,  J.,  102,  148. 

Fowler,  PI.,  19. 

Gardner,  Rev.  Canon,  quoted,  26. 

Geflowski,  G.  E.,  133,  210,  215. 


382 


INDEX 


Geissler,  R.,  265,  266,  305. 

General  Theological  Seminary,  New  York,  271. 
Gilbert,  A.,  45. 

Gloucester  Cathedral,  14. 

Godwin,  Mr.,  192 
Gorham  Co.,  323. 

Grace  Church,  Baltimore,  299;  Windsor,  323  ; 

Utica,  365. 

Grant,  Miss,  95. 

Gruhler,  W.  J.,  294. 

Haight,  C.  C.,  271,  318. 

Hardman  and  Sons,  288. 

Hardman  and  Co.,  J.,  336. 

Heaton,  Butler,  and  Bayne,  198,  228,  323. 

Hedley,  R.,  122. 

Hems,  H.,  45. 

Hereford  Cathedral,  40. 

Hewitt,  G.  W.  and  W.  D.,  288. 

Hicks  and  Charlewood,  122. 

Hirst,  H.,  30,  191. 

Hitch,  N.,  30,  139,  161,  164,  222. 

Holiday,  H.,  277. 

Holy  Trinity  Church,  Watermoor,  215;  Middle- 
town,  318. 

Hudson,  Mr.,  7. 

Hughes,  J.  F.,  365. 

Irving  and  Casson,  330,  337. 

Johnson,  R.  J.,  62. 

Kempe,  C.  E.,  33. 

Lamb,  J.  and  R,,  265. 

Leonardi,  287. 

Lichfield  Cathedral,  33. 

Manchester  Cathedral,  34. 

Minster  Lovell,  204. 

Moore,  T.  L.,  96. 

Mora,  Mr.,  306,  312. 

Neville  Screen,  56. 

Nicholls,  T.,  209,  228. 

Nolloth,  D.D.,  Rev.  Canon,  quoted,  161. 

Norcross  Bros.,  324. 

Norman  and  Burt,  61. 

Nowell,  D.D.,  Rev.  Canon  W.  E.,  quoted,  122. 

Oertel,  D.D.,  Rev.  J.  A.,  244. 

Old  St.  Pancras  Church,  London,  ill. 

O.strehan,  G.,  176. 

Partridge,  W.  O.,  300. 

Pearson,  G.  T.,  293,  349. 

Pearson,  J.  L.,  30,  50,  139,  164,  222. 

Penrose,  G.  T.,  164. 


Perkins,  Rev.  T.,  quoted,  170. 

Peterborough  Cathedral,  39. 

Peto,  H.,  31 1. 

Philips,  B.,  228. 

Phillips,  J.,  7. 

Pomeroy  and  Cay,  86. 

Poole  and  Allen,  148. 

Potter,  W.  A.,  324. 

Powell,  Messrs.,  85,  191. 

Prothero,  H.  A.,  151. 

Purdy,  E.,  221. 

Randall,  PL,  300. 

Ratte,  Mr.,  4. 

Rede,  D.D.,  Rev.  W.,  quoted,  240. 

Redfern,  Mr.,  14. 

Rhind,  J.  M.,  318. 

Rice,  Mr.,  192. 

Rider,  J.,  86. 

Robertson,  C.  G.,  quoted,  133. 

Rochester  Cathedral,  19. 

Rose,  P.  C.,  244. 

Ross  and  Co.,  244. 

Rubicondi,  287. 

St.  Agnes’  Church,  London,  96. 

St.  Alban’s  Church,  London,  79. 

St.  Anne’s  Church,  Eastbourne,  116. 

St.  Barnabas  Church,  London,  10 1. 

St.  Chad’s  Church,  Haggerston,  197. 

St.  Cuthbert’s  Church,  Newcastle-on-Tyne,  122. 

St.  Elizabeth’s  Church,  Philadelphia,  278. 

St.  George’s  Chapel,  Windsor,  155. 

St.  Giles’  Church,  London,  106. 

St.  Ignatius’  Church,  New  York,  259. 

St.  James’  Church,  Philadelphia,  272. 

St.  John  Baptist  Church,  Cirencester,  210  ; Sum- 
mertown,  216. 

St.  John’s  Church,  Dresden,  366 ; London,  91, 
102;  Stamford,  324. 

St.  Luke’s  Church,  Germantown,  293  ; Scranton, 

344- 

St.  Margaret’s  Church,  King’s  Lynn,  181. 

St.  Mary  Magdalene,  Elmstone,  182. 

St.  Mary’s  Church,  Bristol,  192  ; Cuddington,  1 21 ; 
Marsh  Gibbon,  198  ; Kansas  City,  361  ; Prim- 
rose Hill,  London,  115  ; Soho,  London,  95; 
Streatley,  222  ; Philadelphia,  287;  Witney,  209. 
St.  Matthew’s  Church,  Northampton,  156. 

St.  Michael  and  All  Angels  Church,  Anniston,  343. 
St.  Paul’s  Cathedral,  London,  66. 

St.  Paul’s  Church,  Bristol,  191  ; Chattanooga,  338; 

London,  80  ; Washington,  305. 

St.  Paul’s  School,  Concord,  330. 

St.  Peter’s  Church,  Germantown,  294. 

St.  Stephen’s  Church,  Clewer,  176;  London,  85; 
Philadelphia,  277  ; Providence,  335. 


INDEX 


383 


St.  Timothy’s  Church,  Philadelphia,  288. 

Salisbury  Cathedral,  8. 

Salviati,  49,  74,  355. 

Schweichart,  Mr.,  323. 

Scott,  Sir  G.  G.,  4,  8,  13,  14,  19,  25,  33,  49,  74,  96, 
1 39,  155,  210,  215. 

Sedding,  J.  D.,  86. 

Sergeant,  P.  W.,  quoted,  1. 

Sharpless  and  Watts,  278. 

Shaw,  N.,  227. 

Sibbel,  J.,  350. 

Silver  Altar  of  St.  Mark’s  Church,  Philadelphia,  371. 
Smith,  J.,  324. 

Southwark  Cathedral,  London,  70. 

Staller,  PI.,  115. 

Stent,  E.  J.  N.,  355. 

Stewart  and  Plendry,  343. 

Street,  G.  E , 20,  95,  128,  203. 

Sturgis,  J.  H.,  311. 

Theis’  Sons,  P.,  329. 

Thomas,  J.  A.,  121. 

Thompson,  D.D.,  Rev.  Canon,  quoted,  70. 
Thornhill,  Sir  J.,  133. 

Tiffany,  L.  C.,  233,  344. 

Tinvvorth,  Mr.,  20. 

Trinity  Church,  Geneva,  349;  New  York,  247; 
Torrington,  329. 


Trinity  Chapel,  New  York,  253. 
Truro  Cathedral,  26. 

Tully,  J.  C.,  259. 

Upjohn,  R.  M.,  365. 

Valenzi,  287. 

Vauchet,  F.,  50. 

Vaughan,  H.,  260,  317,  330,  337. 


Wall,  A.  B.,  185. 

Watts,  R.,  336. 

West,  Sir  B.,  2,  19. 

Westmacott,  J.  S.,  62. 

Westminster  Abbey,  74. 

Wheeler  Bros.,  228. 

Whitman  Company,  293,  349. 
Winchester  Cathedral,  1 ; College,  140. 
Withers,  F.  C.,  247,  253,  254. 

Withers,  R.  PI.,  80. 

Wood,  W.  PL,  266,  338,  343. 

Woodyear,  PI.,  176,  228. 

Worcester  Cathedral,  25. 

Wyatt,  T.,  128. 

York  Cathedral,  20. 


* ' 


£2  tv/ 


CX 


10-6(o3J^ 


